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FINE ARTS IN OUR SCHOOLS: A COMPREHENSIVE CURRICULUM GUIDE STATE OF SOUTH DAKOTA, AUGUST 1986 SECRETARY, DR. JAMES O. HANSEN DEPARTMENT OF EDUCATION AND CULTURAL AFFAIRS This curriculum guide has been approved by the South Dakota Board of Education. Members of the Board at the time of approval were: Mr. Robert Frieberg, President, P.O. Box 511, Beresford, SD 57004, 763-2107 (Office), 763-2469 (Home) Dr. Eudora Zellers, Vice President, 208 First Avenue East, Flandreau, SD 57028, 997-2255 (Home) Mr. Glenn Barber, 1313 Apollo Circle, Rapid City, SD 57701, 342-7000 (Office), 343-2692 (Home) Mr. Noel Hamiel, P.O. Box 56, Yankton, SD, 57078, 665-7811 (Office), 665-9015 (Home) Mrs. Deanna Knudson, 2500 Harriet Lea, Sioux Falls, SD 57103 Mrs. Marlene Zieser, P.O. Box 476, Tyndall, SD 57066 Mr. Elden Samp, P.O. Box 269, Flandreau, SD 57028, 997-2689 (Home) E. Steeves Smith, P.O. Box 488, Mitchell, SD 57301, 996-5542 (Office), 996-8311 (Home) Ron Wheeler, 578 South Lake Drive, Watertown, SD 57201, 882-4000, ext 255 (Office) The guide is available from the Division of Education upon written request. Any portion of the material may be copied or modified to meet the curriculum or instructional needs of a local school district. It is the policy of South Dakota Division of Education that no person be subjected to discrimination on the basis of race, national origin, religion, sex, age, physical and mental disabilities, or marital status in any program, service, or activity for which the Division is responsible as required by Title IX, P.L. 93-112, Sec. 504 and other state and federal laws. Any person wishing to discuss his/her rights under the Division’s nondiscrimination policies should contact the Division of Education, Pierre, SD 57501; phone (605) 773-3243. This material has been reviewed for racism and sexism content. FOREWORD South Dakota has a strong commitment to equality and excellence in all aspects of public education. The earliest settlers and those persons who now live in this state have taken the necessary steps to assure that the citizens receive proper instruction in the schools. Even the most effective teachers and administrators need a framework within which to deliver ideas and concepts on every type of subject matter. This curriculum guide is designed to provide the state’s educators with a basic outline for instruction in the fine arts. The guide includes concepts covering creative writing, dance/movement, drama/theatre, music, and the visual arts. These areas contribute to the development of students’ cultural, social, aesthetic, and artistic values and are thus essential as a basic part of the educational program. The fine arts often provide the means by which a student can express the concepts of history, science, mathematics, language arts or foreign language and thus need to be a part of the well-balanced school curriculum. Therefore it is my pleasure as State Superintendent and Department Secretary for Education and Cultural Affairs to commend this document to the students and educators of South Dakota. The guide is just that and should not be considered as “final” since curriculum in any field of study is continually changing and being refined to meet the needs of a growing and developing society. I wish each teacher and student a successful “arts” experience. James O. Hansen State Superintendent Secretary Department of Education and Cultural Affairs
 * //SOUTH DAKOTA FINE ARTS CURRICULUM//**

**//ACKNOWLEDGEMENTS//** It is with a deep sense of appreciation and gratitude that the following persons and agencies are recognized for significant contributions to the fine arts curriculum guide. Each has given unselfishly and with a genuine sense of dedication to the importance of the arts in education. Those listed gave of their time and energy, but more importantly of their ideas, teaching strategies, resources and writing skills.COMPREHENSIVE FINE ARTS CURRICULUM GUIDE TASK FORCE VISUAL ARTS Lynn Milton, Vermillion Middle School, Vermillion, SD Ken Grizzell, University of South Dakota, Vermillion, SD Don Durfee, Mitchell Junior High School, Mitchell, SD Cookie Perkins, Brookings Elementary Schools, Brookings, SD

CREATIVE WRITING Connie Elston, Rapid City School District, Rapid City, SD Pat Kool, Helen Heppler, Huron School District, Huron, SD Jack Kreitzer, BH Special Services Cooperative, Deadwood, SD

MUSIC Judy Aiello, Vermillion School District, Vermillion, SD Charlyse Cade, Salem School District, Salem, SD Dennis Hegg, Dell Rapids School District, Dell Rapids, SD Warren Hatfield, South Dakota State University, Brookings, SD DANCE/MOVEMENT Myla Hauff, Private Dance Instructor, Spearfish, SD Marilyn Richardson, South Dakota State University, Brookings, SD DRAMA/THEATRE Sarah Spelts, O’Gorman High School, Sioux Falls, SD Joel Hefling, South Dakota State University, Brookings, SD Renee Carey, Private Theatre Instructor, Watertown, SD ADMINISTRATIVE REPRESENTATIVE Roger Damerow, Rapid City School District, 809 South St., Rapid City, SD Dr. Harold Popp, University of South Dakota, Vermillion, SD Dr. Harold Krueger, Augustana College, Sioux Falls, SD South Dakota Music Educators, Merle Larson, Chairperson, Yankton School District, Yankton, SD

**//INTRODUCTION//** It is the purpose of this section of the comprehensive fine arts curriculum guide to put the process of its development into perspective and to offer some basic information on the fine arts in general. Development of comprehensive fine arts curriculum guide has been discussed and attempted over a period of several years. The visual artists worked on a curriculum in their area to replace a twenty-five year old document. In April of 1985 the Department of Education and Cultural Affairs initiated a task force to develop a guide in all the fine arts area. This effort was wholeheartedly endorsed by the South Dakota Arts Council and the South Dakota Alliance for Arts Education. The task force worked throughout the 1985-86 school term to bring the finished product to publication. The curriculum guide has been reviewed and evaluated by many persons not on the original task force, and these contributions have added to the clarity, corrective ness, and depth of the document. It is to be noted that all of the persons involved are practicing artists of their chosen fields, in addition to being directly involved in the teaching of the art form to students at the elementary, secondary, or post-secondary level. Thus the contributors represent the best of theory in the art form and combine that with its practical application for students. The curriculum guide is intended as a starting point for local school district personnel to use in developing a comprehensive fine arts program. The purpose of the grades K-12 guide is to provide a framework for each of the fine arts areas, which may be used in various ways depending upon the needs and resources of a school community. The framework of the guide is designed to be modified by addition or deletion depending upon the school district’s staffing pattern and philosophy of education. The guide is designed to give each student in South Dakota at least a minimal exposure to each of the arts in a successful manner. Since the population of school districts and the geographical location of resources is a consideration in building school curriculum in South Dakota, this guide is intended for use by regular classroom teachers, in addition to fine arts area specialists. Many students in our state will never benefit from a teacher of dance or drama or creative writing, but these areas must not be overlooked just because a student lives in a more remote area or the school district cannot hire a special teacher. Thus the concepts in these areas may need to be taught by regular classroom teachers, particularly at the elementary level. To this end each of the fine arts areas has included some example of specific activities to provide students an exposure to the particular arts concept and experience. In school districts where fine arts area specialists are available, this guide will serve as a tool for enhancing a locally developed program already in existence. Generally each of the fine arts areas has used a similar format in development of the curriculum guide. The reader will note some differences because of unique needs in a particular area. Some differences are the result of contributions from many sources. Most areas contain the following parts: 1. A definition of the arts area. 2. A statement of need or a rationale for its inclusion in the school curriculum. 3. A listing of student outcomes or goals for the area. 4. A sampling of objectives and activities for each grade level (K-12) or some other accepted grouping of levels. 5. Suggested resources or a brief bibliography for the area. In conclusion it should be noted that the curriculum guide is simply a foundation upon which to build a comprehensive arts program.

**//DEFINITION//** “The Fine Arts” means a variety of things to different constituent groups, thus for the purposes of this guide the “Fine Arts” shall be those listed: Creative Writing, Dance/Movement, Drama/Theatre, Music, and Visual Arts.In defining “fine arts” in this way, it is proposed that all have three distinct levels of experience. 1. First, the area must build a set of reference points through sensory experiences. These basic facts must demonstrate how the arts experience can come into touch with the senses. 2. Second, the experience in the arts area must provide a means for processing these basic facts: A system for comparing, classifying, and summarizing the experience so that something that did not exist before can now be created or identified. 3. Third, the symbols (verbal and nonverbal) must be translated. This level is the one at which "becoming” takes place. For example, a painting is just a thing, until a viewer responds to the artist’s creation. A comprehensive fine arts program has several qualities. The program 1. develops symbolic thought. 2. develops sensory and motor integration and texture within the human experience. 3. nourishes play and imagination so that creative and original ideas are produced. 4. develops the skills of creative problem-solving, artistic perception, and expression. 5. develops a unique medium of personal expression and communication. 6. contributes significantly to the quality of life. 7. assists in interpreting and exemplifying our culture and other world cultures. 8. enhances, enriches, and enlivens various curricular areas to provide a balanced curricular environment for learning. 9. allows children to become aware of themselves and their feelings. 10. develops an awareness to make better choices about careers and the use of leisure time activities. 11. offers teachers alternative strategies through the use of the artistic mode. 12. develops future citizens with aesthetic sensitivity. The fine arts are a fundamental part of basic education. They provide students with means for expression and communication at every age level. They train students to recognize, discriminate and respond to images, sounds, movements and spatial relationships. They assist in the development of personal value systems. They give access to understanding different cultures. They provide career opportunities and skills for lifelong participation in leisure time activities. Basic education is education, which nurtures and addresses the development of all realms of human behavior, including the physical, emotional, social and intellectual. Basic education nurtures the development of sensory perceptions, program solving ability, information processing and various means of expression. Basic education recognizes the complex interactions of all these capacities, and is founded in a broad understanding of human behavior. Fine Arts develop the ability to communicate and to interpret information and perceptions in both verbal and nonverbal ways. All students should be allowed the opportunity to learn in the arts as part of their school experience. In so doing they will obtain an understanding of and ability to worth with artistic elements and structures in each fine arts discipline. Therefore each of the five fine arts areas noted at the beginning of the discussion will be presented in detail. Each meets the criteria established for a comprehensive fine arts curriculum. Now let every educator be challenged to create a learning environment filled with creativity, as Franklin D. Roosevelt proclaimed in his dedicatory address at the Museum of Modern Art in New York City on May 10th, 1939 when he said: “The arts cannot thrive except where mean are free to be themselves and to be in charge of the discipline of their own energies and ardors. The conditions for democracy and for art are one and the same. What we call liberty in politics results in freedom of the arts. There can be no vitality in the works gathered in a museum unless there exists the right of spontaneous life in the society in which the arts are nourished.”

**//SECTION IV: MUSIC - FORMAT OF THE GUIDE//** Part One is a __Curriculum Guide for Planning__ and includes philosophical statement and purposes of the guide. This dialogue is central to the significance of the guide and to its usefulness in music education. Part Two is a __Program Description of Standards__ for: a. curriculum; b. staff; c. physical facilities; d. materials and equipment; and e. scheduling. Part Three, __The Basic Components of Sound__, recognizes seven components that are essential in establishing the structural-stylistic dimensions of music and, therefore, should be useful to teachers for selecting the content and appropriate experiences of music instruction. Those seven components are: pitch (frequency), duration, loudness (intensity), timbre, texture, form, and style. Part Four is __identification of Skills and Concepts__. This section is devoted to activities at appropriate levels of public school music education. All skills and concepts are related to the three basic categories referred to several times previously in this document: Performing; Creating (organizing/composing); Listening (describing/perceiving/analyzing). Part Five, __Assessment and Evaluation of the Music Program__, deals with measuring the effectiveness of the program and instruction. It provides a rationale for developing a competency-based education program in music. Part Six, is concerned with the __Administration and Evaluation of the Music Program__. This section also gives principles for staffing and interpretation of minimum standards as they affect music education. Bibliographies D and E and Appendices V and VI include materials that will serve as resources for teachers and administrators. Although the guide is not a how-to-do, day-by-day prescription for teaching, the bibliography and lists included to the appendices may be valuable to assist in developing courses of study in individual school systems. Of special interest, the flow chart in Appendix V may be of value as a school system approaches writing or considering the development of its particular course of study.

PURPOSE OF THE GUIDE Specifically, the guide provides direction for developing graded courses of study and comprehensive curricula in music. It deals with the goals and objectives of music instruction in the school. The guide does not promote a particular methodology or learning approach. The guide should be a document for redirecting and redesigning music education; thus, each school system should examine its curriculum, using this guide to help determine where they are and where they want to be. It is imperative that all genres, styles, and periods of music be incorporated into the curriculum. Consequently, it is hoped that this guide will assist schools in serving the needs of all students. To this end, the guide provides: 1. A framework for identifying and selecting objectives for elementary and secondary music education. 2. A set of information enabling schools to create appropriate objectives which make available a broad sampling of learnings pertinent to all types and levels of music instruction and which may be used to evaluate the development of individual students, the effectiveness of instruction, and the organization and adequacy of the music program. 3. A description of assessment and evaluation in music and the impact of competency-based education upon music. 4. A description of staffing needs for implementing a program of comprehensive music education. The ultimate validity of any curricular concept depends upon its implementation. Comprehensive music programs depend upon thorough planning and the availability of quality facilities, materials, and equipment; however, they depend even more critically on the commitment and competency of music teachers.

**//PURPOSE OF THE GUIDE//** Specifically, the guide provides direction for developing graded courses of study and comprehensive curricula in music. It deals with the goals and objectives of music instruction in the school. The guide does not promote a particular methodology or learning approach. The guide should be a document for redirecting and redesigning music education; thus, each school system should examine its curriculum, using this guide to help determine where they are and where they want to be. It is imperative that all genres, styles, and periods of music be incorporated into the curriculum. Consequently, it is hoped that this guide will assist schools in serving the needs of all students. To this end, the guide provides: 1. A framework for identifying and selecting objectives for elementary and secondary music education. 2. A set of information enabling schools to create appropriate objectives which make available a broad sampling of learnings pertinent to all types and levels of music instruction and which may be used to evaluate the development of individual students, the effectiveness of instruction, and the organization and adequacy of the music program. 3. A description of assessment and evaluation in music and the impact of competency-based education upon music. 4. A description of staffing needs for implementing a program of comprehensive music education. The ultimate validity of any curricular concept depends upon its implementation. Comprehensive music programs depend upon thorough planning and the availability of quality facilities, materials, and equipment; however, they depend even more critically on the commitment and competency of music teachers.

**//PART ONE: A CURRICULUM GUIDE FOR PLANNING MUSICAL EXPERIENCES A STATEMENT OF PHILOSOPHY//** The thesis of this Guide is that the arts and music are basic to the quality of human existence; therefore, music is an essential part of the education of every child. “Man is unique among creatures in the extent and quality of his potentials. …The primary purpose of music education is to develop the aesthetic potential, possessed by every human being, to its highest possible level.”1 Musical learning is and education toward heightened sensitivity to the musical sounds in one’s environment. Assuming the importance of the aesthetic in human experience, music must be taught as effectively as possible. Sequential musical experiences in listening, performing, and creating music must be cumulative and reinforcing if aesthetic sensitivity is to be achieved. Consequently, a K-12 curriculum is essential to comprehensive musical learning. Given the opportunity to create (organize) as well as perform and listen (describe/analyze), 2 music allows for perceptual, cognitive, affective, and psychomotor development and growth. Only with a coordination of the curriculum process will the result be a continuous music growth; only then will music education foster the growth of musically discerning individuals who are sensitive to sounds in the world about them. Accordingly, the teacher must be a musician-teacher who initiates, stimulates, guides, and accelerates the interaction between students and music. In setting conditions for music learning, the teacher has available the total body of music literature, ranging from simple to complex structures and extending from ancient to modern times. The teacher’s approach to the literature is as important as the literature itself. A significant portion of a student’s musical study should be devoted to the above-delineated activities in relation to the music of all styles and genres.

**//THE REPORTS OF EDUCATION3//** (The arts) are the means by which a civilization can be measured…. (They) are an essential part of the human experience. They are not a frill. It is recommended that all students study the arts… These skills are no longer just desirable. They are essential if we are to survive together with civility and joy.4 These words of Ernest Boyer reflect the consensus of the major contributors to the current debate on excellence in education. Of all the various reports, those that are most thorough and thoughtful, those that are best documented, and those that are based on the most extensive fieldwork also tend to be most strongly supportive of the arts. Mortimer Adler writes: There are three areas of subject matter indispensable to basic schooling—language, literature, and the fine arts; mathematics and natural sciences; history, geography, and social studies. Why these three? They comprise the most fundamental branches of learning. No one can claim to be educated who is not reasonably well acquainted with all three.5

The College Board has taken the firm position that all students should study the arts, whatever their fields of specialization are to be, and that each student should undertake more intensive preparation in at least one field of the arts.6 John Goodlad stresses the necessity of including the arts in the elementary school curriculum, and he explains fully and persuasively how to find time for them: To those legislators, school board members, and others who often sound as though they would deprive children of access in school to social studies, science, health education, and arts in order to assure attention to reading, writing, spelling, and mathematics, let me say simply that the sacrifice is unnecessary…. It will just be necessary for the principal and teachers of some elementary schools—perhaps most—to become more efficient in the allocation and use of time.7 As for the secondary level, Goodlad proposes that up to 18 percent of each student’s program should be devoted to literature and languages, up to 18 percent to mathematics and science, up to 15 percent each to social studies, vocational studies, and arts, and up to 10 percent to physical education.8 This is the program for every student. Variations of no more than one-fifth in any category would be acceptable, but the total should not exceed 90 percent. The other 10 percent should be available to pursue the special interests and abilities of the individual student, which, of course, may include the arts. Virtually every individual or group that has made a major contribution to Western educational thought since Plato has included the arts among the basics. The Council for Basic Education, which many consider the nation’s most respected and eloquent voice for the basics, unequivocally places the arts among the highest-priority subject matter fields.9 The consensus is clear: Music is basic. Every young American should receive a solid program of instruction in music in school.

**//A RATIONALE FOR MUSIC10//** Why should music be included in the curriculum? The reasons are many and varied. Some are complex. Many are more convincing to some segments of the public than to other segments. A few of the major reasons may be summarized as follows: 1. Music is worth knowing. It is a field of study with its own special body of knowledge, skills, and ways of thinking. The ability to perform, to create, and to listen to music with understanding is highly desirable for every member of society. 2. One important purpose of the schools is to transmit our cultural heritage to succeeding generations, and music is one of the most glorious manifestations of our cultural heritage. Most parents want their children to be familiar with the major works of Shakespeare, Michelangelo, and Beethoven, as well as the words of Galileo, Newton, and Einstein. 3. The schools have an obligation to help each student develop his or her musical potential. Musical potential is one of the basic abilities, along with linguistic potential, physical potential, and others, that exist in every individual.11 In many persons, unfortunately, it remains largely undeveloped throughout life. All individuals should be able to test the limits of their potential in as many fields as possible. 4. Music provides an outlet for creativity and for self-expression. It enables us to express our noblest thoughts and feelings. It engages our imaginations. It allows us to assert our uniqueness. These are particularly important functions in a world increasingly dominated by electronic technology. 5. The study of music can help the student understand better the nature of mankind. It reveals unique aspects of our relationship with other human beings and with our environment. It provides a readily accessible avenue to the study of other cultures. 6. Music in the school provides an opportunity for success for some students who have difficulty with other aspects of the curriculum. Every student needs to succeed in something. Schooling must not consist solely of activities so similar to one another intellectually that those individuals whose abilities lie elsewhere are destined to fail in everything they do. 7. The study of music can increase the satisfaction that students derive from music and enable them to deal with more sophisticated and complex music. Formal study of music can sharpen one’s sensitivity, raise one’s level of appreciation, and expand one’s horizons. All of this will increase the degree of pleasure one can derive from making or listening to music throughout life. 8. Music is one of the most powerful and profound symbol systems that exist. Just as everyone must study our verbal and mathematical symbol systems, so too should everyone study the symbol systems represented by music and art. The ability to create symbols and the obsession to use them is what makes mankind uniquely human and for this reason should be cultivated and strengthened at every opportunity. 9. It is important for young people to realize that not every aspect of life is quantifiable. One must be able to cope with the subjective. Not every question has one right answer. Music teaches this very well. Music is fundamentally different from most other disciplines of the curriculum. In many respects it is more like life itself than are the other disciplines. Education urgently needs this balanced perspective on life. 10. Music exalts the human spirit. It enhances the quality of life. It transforms the human experience. It has always played a major role in society, and it will continue to do so in the future.

**//OUTCOMES OF THE MUSIC PROGRAM12//** The position of Music Educators National Conference is that the fundamental purpose of teaching music in the schools is to develop in each student, as fully as possible, the ability to perform, to create, and to understand music. Instruction in music should lead to specific skills and knowledge.

The elementary and secondary music program should be designed to produce individuals who: 1. Are able to make music, alone and with others; 2. Are able to improvise and create music 3. Are able to use the vocabulary and notation of music; 4. Are able to respond to music aesthetically, intellectually, and emotionally; 5. Are acquainted with a wide variety of music, including diverse musical styles and genres; 6. Understand the role music has played and continues to play in the lives of human beings; 7. Are able to make aesthetic judgments based on critical listening analysis; 8. Have developed a commitment to music; 9. Support the musical life of the community and encourage others to do so; and 10. Are able to continue their musical learning independently.

**//PART TWO: PROGRAM DESCRIPTION OF STANDARDS//** Ultimately, the quality of an instructional program is determined by what actually takes place between the student and teacher and between the student and the learning environment. No set of quantitative specification for staff, equipment, or facilities can ensure a quality program. Excellent results are sometimes achieved under adverse conditions, while excellent conditions sometimes produce disappointing results. Yet, an adequate staff and satisfactory facilities and equipment so increase the likelihood of excellence that the establishment of such standards is necessary. a. __Standards for Curriculum__ The quality program in music provides instruction to every student through the sixth grade and for at least two additional years in secondary school. Music incorporated into the curriculum on an equal basis with other subject-matter fields is recommended.

1. General music should be offered daily to each student in grades K-6. Instruction on band and orchestra instruments should be offered beginning in grades 4-6, depending on the philosophical organization of the instrumental music program. Additional exploratory instrumental experiences including guitar and keyboard should be available. 2. Beginning, intermediate, and advanced instruction in vocal and instrumental music should be available at the high school and middle/junior high school level to students desiring such instruction. 3. At least two choral ensembles should be offered in both the middle/junior high school and high school. An additional choral ensemble should be offered for each 250 students about 500 in the school. These ensembles are differentiated by the experience, ability, or degree of interest of the members, or by their composition (e.g., boys, girls, mixed) or repertoire. 4. At least two bands (e.g., wind ensemble) should be offered in both the high school and middle/junior high school. And additional band or wind ensemble should be offered for each 250 students above 500 in the school. These groups are differentiated by the experience, ability, or degree of interest of the members. 5. Orchestra should be offered in upper elementary, middle/junior high school, and high school. 6. Regular participation in a program of small ensembles should be available in the high school and middle/junior high school to students desiring such experience. 7. At least one alternative performing organization (e.g., stage band, string orchestra, madrigal, or show choir) in both vocal and instrumental areas should be available in the high school. 8. At least one content music course with a focus on either the creating (organizing/composing) emphasis or the listening (describing/perceiving/analyzing) emphasis should be offered in the high school and also at the middle/junior high school. An additional course with one of these foci should be offered for each 250 students above 500 in the schools. 9. Though the major emphasis in each course is on either performing, creating or listening to music, experience in the other two categories must be occasionally included. 10. Attention is paid to the indigenous musical idioms and media of the area, if any. 11. Academic credit is offered for performance-emphasis courses on the same basis as for laboratory courses.

**//STANDARDS FOR STAFF//** It is the position of the Music Educators National Conference that instruction in music can best be provided by music specialists. The specialists may be greatly assisted by the classroom teacher who creates an atmosphere favorable to music, and especially by the classroom teacher who provides music activities between visits by the specialist. A music specialist is defined as a skilled teacher, whose preparation includes substantial work in music, leading to those competencies, which have been suggested, by the South Dakota Certification Office requirements and a music education degree. Effective results can best occur under the following conditions:
 * 1) The average class size, for general classroom music in traditional settings, does not exceed the average for other classroom teachers.
 * 2) The teacher-pupil ratio in general classroom music is not greater than 1:420 for grades K-3 or 1:270 for grades 4 and higher. No music teacher teaches more than twenty-four contact hours per week or more than the maximum number of hours for other teachers in the school. (This is subject to ratio requirements of the Department of Education, if any exist.)
 * 3) Each music teacher has at least one period daily, excluding travel time, for preparation and evaluation.
 * 4) The music teaching staff in the middle/junior high or high school is sufficient to provide daily experiences throughout the school year to groups of comparable age, vocal maturity, and experience.
 * 5) The music teaching staff is sufficient to provide beginning and intermediate class instruction on the basic instruments of the band and orchestra at least two times weekly in the elementary school.
 * 6) The music teaching staff is sufficient to provide beginning and intermediate class instruction on the basic instruments of the band and orchestra daily in the middle/junior high school or high school.
 * 7) The music teaching staff is sufficient to offer instruction in small ensembles in the high school and middle/junior high school to students desiring such instruction.
 * 8) Each music teacher working with special education classes has pre-service or in-service training in special education with convenient access to trained professionals in special education for purposes of consultation.
 * 9) Each music teacher is permitted limited professional leave each year for in-service education.
 * 10) When the teaching staff of the district includes five or more music teachers, one is designated a music supervisor.
 * 11) Each music supervisor is a qualified and experienced music teacher with a broad outlook with respect to the music program and with respect to the total educational program.

**//STANDARDS FOR PHYSICAL FACILITIES//** The physical facilities required for an instructional program are determined by the nature and scope of the curriculum, which in turn, is based upon the philosophical foundations underlying the program. It is expected that each school will contain facilities designed appropriately and expressly for music instruction. It is important that the music staff be involved from the early stages in the planning of new facilities. Effective results can best occur when:
 * 1) There is a facility for teaching general music in each elementary school large enough to accommodate the prevailing class size and provide ample space for physical movement.
 * 2) There is a facility for teaching instrumental music in each elementary school large enough to accommodate the prevailing class size and provide ample space for physical movement.
 * 3) Sufficient, secured, storage space is available in each elementary school to store the necessary instruments, equipment, and instrumental materials.
 * 4) Office space is provided for each music teacher in the elementary school.
 * 5) An ensemble rehearsal room of at least 100 square feet is available in each elementary school.
 * 6) Each high school and middle/junior high school contains separate rehearsal facilities for band, orchestra, and choral groups.
 * 7) Each high school and middle/junior high school choral rehearsal facility contains at least 1600 square feet of floor space. The ceilings are at least fourteen feet high (higher if the use of risers is anticipated).
 * 8) In addition to the requirements for the basic program, proper cabinets and shelving are provided, together with lockers for the storage of instruments in daily use. Such space is located immediately adjacent to the rehearsal facility of each group. There is a room for the repair and maintenance of instruments.
 * 9) Each high school and middle/junior high school instrumental and choral rehearsal facility provides a year-round temperature between 65 and 72 degrees Fahrenheit. (Lighting provides at least seventy-foot candles of illumination on each student’s music.)
 * 10) Each high school and middle/junior high school contains at least one practice room of at least 55 square feet for each forty students enrolled in performing groups.
 * 11) Each high school and middle/junior high school contains an ensemble rehearsal room of at least 350 square feet.
 * 12) Each high school and middle/junior high school instrumental and choral rehearsal and practice facility is sufficiently isolated acoustically that external sounds do not disturb students rehearsing and that rehearsals do not disturb personal in adjacent areas.
 * 13) Each high school and middle/junior high school contains office or studio space for each music teacher in the school.
 * 14) Each high school and middle/junior high school contains as much acoustically isolated classroom space as for a content-oriented course. Facilities may be used by students for music listening and for independent study.
 * 15) Each music classroom and rehearsal facility contains at least 32 square feet of chalkboard and at least 24 square feet of corkboard.
 * 16) The music facilities in each high school and middle/junior high school are adjacent to one another.

**//STANDARDS FOR MATERIALS AND EQUIPMENT//** It is expected that each school district will provide the materials and equipment required to achieve the objectives of its music program and that these materials and equipment will be of good quality. The logistic procedures will vary from one district to another. In one district, for example, each school may maintain its own library of orchestra music, while in another district each school may withdraw music as needed from a central library of orchestra music. It is also expected that an adequate budget will be provided for the maintenance, repair, and eventual replacement of materials and equipment. The intent of these standards is that every teacher and student shall have convenient access to the materials and equipment needed.
 * 1) Each elementary and middle/junior high school should have two current basic series for each classroom, plus the accompanying records and teacher’s books. (Additional supplementary books and materials are also provided.)
 * 2) Each elementary and secondary school includes a library or learning resource center that contains a variety of music books, recordings, scores, films, filmstrips, transparencies, and programmed and self-instructional materials. In addition to materials for general use, there is also a library of music materials for the professional growth of the teacher in each elementary and secondary school.
 * 3) In classes emphasizing independent study or music laboratories at either the elementary or secondary level, sufficient materials and equipment are provided for at least two learning stations.
 * 4) A beginning or intermediate instruction book is provided for each student enrolled in instrumental classes at the elementary or secondary level. A variety of supplementary materials are available for instrumental students at the elementary and secondary level.
 * 5) A library of large and small ensemble music should be provided in each elementary school.
 * 6) Each room in the elementary, middle/junior high and high school where music instruction takes place has convenient access to good quality sound reproduction equipment, including a turntable/compact disc player, a reel-to-reel/cassette desk, and a good microphone.
 * 7) Each room in the elementary, middle/junior high school and high school where music instruction takes place has convenient access to good quality piano, tuned at least twice annually.
 * 8) Each room has convenient access to a set of portable risers.
 * 9) Each room in the elementary school where music is taught has convenient access to the following: assorted drums; woodblocks; sticks; sand blocks; maracas; claves; cymbals; finger cymbals; tambourines; triangles; cowbell; melody bells; resonator bells; jingle bells; jingle clogs; gong; slide whistle; soprano recorders; assorted xylophone-type instruments; autoharp-type instruments; guitar; ukulele. The total number of instruments is sufficient to accommodate the largest group taught.
 * 10) Consideration should also be given to various tone generators; reel-to-reel/cassette decks; tape; reverberation units; synthesizers/equipment for filtering, mixing, switching, and splicing.
 * 11) Each elementary school must have the following in sufficient quantity to accommodate each student in the program: stringed instruments of various sizes; piccolos; bass clarinets; horns; baritone horns; small tubas; concert snare drums; double-tension bass drum; crash cymbals; pedal timpani; tambourines; triangles; woodblocks; castanets; maracas; claves; orchestral bells; drum stands; mallets; brushes; heavy-duty music stands; tuba chairs; bass stools; conductor’s stand; tuning device.
 * 12) Each middle/junior high has the following as a minimum: C piccolo, two bass clarinets; two oboes; two bassoons; four horns; two baritone horns; bass trombone; three concert tubas or sousaphones; two concert snare drums; double-tension concert bass drum; crash cymbals; suspended cymbals; three pedal timpani; tambourines; triangles; assorted percussion equipment; orchestra bells; drum stands; xylophone or marimba; tuba chairs; bass stools; sufficient heavy-duty music stands for the largest group; conductor’s stand; tuning device; sets of music folders for band, orchestra, and chorus. Systems with an orchestra have adequate stringed instruments of various sizes for the students.
 * 13) Each room in the middle/junior high school where general music is taught has convenient access to the following: assorted drums; woodblocks; maracas; claves; cymbals; finger cymbals; tambourines; triangles; castanets; cowbells; three sets of resonator bells; three sets of melody bells; gong; slide whistle; two autoharp-type instruments; soprano, alto, tenor, and bass recorders; six guitars; five soprano ukuleles; baritone ukulele; soprano, alto, tenor, and bass melody instruments of varying timbres including glockenspiels, xylophones, and metallophones; various tone generators; two reel-to-reel/cassette decks; tape; synthesizer equipment.
 * 14) Each high school has the following as a minimum: C piccolo; two alto clarinets; two bass clarinets; two oboes; two bassoons; baritone saxophone; four horns; two baritone horns; bass trombone; three tubas; two concert snare drums; double-tension concert bass; pedal timpani; tambourines; triangles; assorted percussion equipment; drum stands; orchestra bells; marimba; tuba chairs; bass stools; drums for marching band; sufficient heavy-duty music stands for the largest group; conductor’s stand; tuning device; trap drum set; electronic piano; electric bass guitar; electric string bass; adequate microphones, amplifiers, and speakers for stage band and swing choir. Systems in Class A and AA schools should also have at least four violas, four cellos; and four string basses.
 * 15) Each high school and middle/junior high school contains a library of vocal and instrumental music for large and small ensembles and for beginning, intermediate, and advanced instrumental classes. The library contains a wide variety of music. This is redirected in the statement of philosophy. Lists of appropriate literature may be found in various publications. The library should increase in size by at least 5 percent annually. Necessary storage space and equipment to process music and maintain the library are provided. Recent computer programs are recommended.
 * 16) Each facility in the high school and middle/junior high school where class piano is taught has at least six pianos or six electronic pianos and a teacher’s console. Each facility in the high school and middle/junior high school where class guitar is taught has at least twelve guitars and a teacher’s control panel.
 * 17) Consumable and nonconsumable supplies are available to each elementary and secondary music teacher. A budget is provided for the special supplies and equipment needed in the teaching of music. The district provides an annual budget for the repair and maintenance of instruments and equipment equal to at least 4 percent of the current replacement value of the total inventory of instruments and equipment.
 * 18) The district maintains a fund for the replacement of school-owned instruments and contributes annually to this fund an amount equal to at least 7 percent of the current replacement value of the total inventory of instruments.

**//STANDARDS FOR SCHEDULING//** Scheduling practices vary widely, depending upon a multitude of factors. These standards are intended to apply in a variety of learning situations, including, for example, both the open school and the traditional school. Each of the specifications in this section refers to time during the regular school day. From time to time the music teacher may work with groups of various sizes, including extremely large groups. Although certain types of learning can take place in large groups, others cannot. It is important that the schedule provide for instruction in small groups when necessary to facilitate the sequential growth of the student in musical understanding. It is anticipated that performing organizations and other single-section courses will be scheduled so as not to conflict with each other, insofar as possible, in order to provide each student with the widest range of curricular offerings.
 * 1) Each child, K-6, has music experiences in school daily for a total of not less than 100 minutes per week.
 * 2) Instrumental classes in the elementary school meet at least twice weekly for a total of not less than sixty minutes.
 * 3) Each student enrolled in a content-oriented course in grades 7-9 has music experiences at least twice weekly for a total of not less than 100 minutes.
 * 4) Choral and instrumental performance-emphasis classes in the middle/junior high school or high school meet daily for a total of not less than 200 minutes per week.
 * 5) Content-oriented courses in the high school and middle/junior high school meet as frequently and for as many minutes as comparable elective offerings in other subject-matter fields.

**//THE BASIC COMPONENTS OF SOUND//** This section specifies conceptual understandings and materials for learning objectives appropriate to __all__ levels and types of music instruction.

a. Elemental Components For every musical sound, there is a physical action and a corresponding perceptual image. The senses perceive sounds as having four dimensions commonly referred to as pitch (frequency), duration (musical time), loudness (intensity), and timbre (tone color). These are the common denominators of musical sound. They apply to all music: Western and non-Western; traditional and avant-garde; popular, jazz, and classical. Traditional terms, e.g., melody, harmony, and rhythm, are no longer adequate to describe all music, particularly that of the post-1950 genres—including electronic, determinant and indeterminate music. A course of study intended to present a wide range of musical types and styles cannot be designed around concepts, which are biased toward one type or period of music. Since these four dimensions represent fundamental dimensions of musical sound, they are designated as “elemental components.” These components are defined as follows: Pitch: That component of sound which is produced by the fundamental frequency and its partials. Pitches are arranged either successively or simultaneously and are produced by a variety of sound sources. Pitch of perceived as highness or lowness of sound. Duration: That component of sound, which has to do with time. Duration can be measured in specific units, such as sounds, or in relative terms, as when one tone is described as being twice as long or short as another. Duration is perceived as the relative length of sounds and silences. Loudness: That component of sound, which corresponds to the amplitude of the vibrating body. Loudness is perceived as the strength or weakness of sound, ranging from extremes of near inaudibility to the threshold of pain. Timbre: That component of sound which is determined by the relative strength of the overtones or partials present in a particular sound. Timbre is perceived as the quality or richness of sound and is frequently referred to as “tone color.” Timbre identifies the sources of sound and distinguishes one sound from another. b. Organizational Components In order to produce music, elemental components are organized into complex and sophisticated patterns. These patterns are called “organizational components” because they combine some or all of the elemental components. Organizational components constitute some of the primary ways of describing, analyzing, and criticizing music. The organizational components included here are texture and form. Texture: That component which has to do with the manner in which sounds are arranged simultaneously or successively. It also pertains to the distinctive quality of sound combinations. Texture is usually described in terms of conventional types, which have emerged over the course of musical history: monophonic, homophonic, choral, polyphonic, fugal, and contrapuntal. Form: That organizational component which has to do with the structure of a musical composition. The term “form” carries slightly different connotations, depending on how it is used. In a general sense, form pertains to the orderly arrangement of sounds in a composition and the principles, which guide their arrangement e.g., repetition, contrast, variation, and development. This can be referred to as “form in music.” In another sense, there are predetermined patterns which govern the structure of music works and which have been influential during different periods of musical history. These forms of music include: fugue, sonata, suite, concerto, song, aria, oratorio, and cantata. c. Style Component In the final analysis, music is an integrated whole, consisting of various combinations of elemental and organizational components. Each piece of music is a unique combination of components and assumes a unique identity, a character, which in music is called “style.” This identity or style results from aesthetic and practical conditions, from the conditions, from the cultural and social influences of historical periods and geographical locations, and from the creativity of individual composers.

**//IDENTIFICATION OF SKILLS AND CONCEPTS//** Although the experiences comprising the music program are diverse, they tend to cluster under three headings: __Performing__ Those experiences having to do with the performance of music and the production of musical sound: a. The use of the body as an instrument. b. The use of the voice. c. The manipulation of environmental sound sources. d. The playing of instruments.

__Creating (Composing/Organizing)__ Those experiences having to do with the creation and organization of music: a. The spontaneous development of musical ideas through improvisation. b. The communication of one’s musical intent through composition or arrangement.

__Listening (Describing/Analyzing)__ Those experiences having to do with the listening, description, perception, and analysis of music: a. Listening to music and demonstrating understanding through: fundamental movement or expressive dance; visual representation (including both image terms and technical terminology); the use of traditional notation and contemporary notational systems. b. Reading music: translating the score into sound; verbal description, including both image and technical terminology.

The learning processes reflected in this section are organized according to these three headings. They are designed specifically, enabling a course of study to incorporate the concepts of elemental, organizational, and style components into its procedures. They are consistent with the stated philosophical stance of the guide.

The skills themselves are designated at levels of implementation. These may vary somewhat by individual school systems, but are standards by which programs can be developed. Appendix VI is a further expansion of the K-6 curricular design and contains valuable experiences, which may be employed as a format for developing the music curriculum for these levels.

**//ELEMENTARY GENERAL MUSIC, GRADES 1-3//** Performing Skills 1. Sing on pitch within an appropriate range. 2. Sing on pitch with a group, recording, or instrument(s). 3. Use an appropriate singing style. 4. Sing a variety of songs: folk, art, patriotic, topical, and other. 5. Sing with attention to changes in dynamics and tempo. 6. Repeat given melodic or rhythmic patterns vocally or instrumentally. 7. Combine speech patterns in canon and with ostinati. 8. Perform simple melodic patterns from notation. 9. Perform simple rhythmic patterns (even rhythms in 2, 3, and 4 meter) from notation. 10. Demonstrate an understanding of melody, harmony, rhythm, loudness, timbre, texture, and form through moving, playing, or singing. 11. Demonstrate like and unlike phrases visually, aurally, and kinesthetically. 12. Play simple ostinatos and bourdons on tonal instruments, such as melody bells, resonator bells, glockenspiels, and xylophones. Creating (Organization/Composing) Skills 1. Improvise melodic, rhythmic, and harmonic ideas using the voice, body or musical instruments. 2. Choose appropriate instruments for accompaniments. 3. Create simple original melodic patterns using diatonic, pentatonic, whole-tone, and other scales. 4. Identify skips, steps or repeated notes. 5. Demonstrate variations of fast and slow and loud and soft through movement, playing, or singing. 6. Experiment with diverse sound sources, including electronic and computer-generated sound sources, as media for improvisation and composition. Listening (Describing/Analyzing) Skills 1. Read the basic symbols of music notation. 2. Notate ideas of pitch, rhythm, and dynamics—either traditionally or non-traditionally. 3. Dramatize and interpret music and rhyme. 4. Respond with body movements to various elements of music including melody, harmony, rhythm, phrasing, dynamics, expression, and form. 5. Respond with body movements (including conducting patterns) to music of various styles, forms, moods, and ethnic derivations. 6. Respond with appropriate body movements to contrast in music. 7. Identify visually and aurally classroom instruments and basic orchestral instruments. 8. Describe, discuss and discriminate with respect to the basic concepts of sound such as pitch, duration, rhythm, meter, loudness, timbre, and form. 9. Identify and differentiate accurately among the various music characteristics. 10. Identify composers, titles, and historical periods of music appropriate for these grade levels. 11. Discuss various purposes of music, e.g., lullabies, marches, dirges. 12. Exhibit a preference for many types of music through the purchase of records and videotapes, as well as selected television viewing.

**//ELEMENTARY GENERAL MUSIC, GRADES 4-6//** Performing Skills > > Creating (Composing/Organizing) Skills > > Listening (Describing/Analyzing) Skills > 10. Generalize as to the stylistic context of music, using the student’s own terms to identify the musical components that provide stylistic clues. > 11. Use mechanical terminology to describe and predict how a simple music score should sound, including melody, rhythm, meter, key form, expressive symbols, and style. > 12. Evaluate compositions and performances on the basis of predetermined criteria. > 13. Demonstrate awareness of the diverse forms and genres of music, e.g., opera, folk, symphony, jazz, non-Western.
 * 1) Sing a variety of songs by ear and from notation.
 * 2) Sing accurately and independently, reflecting an understanding of tonal and rhythmical elements.
 * 3) Sing melodies with increasing accuracy of pitch and rhythm.
 * 4) Gain control over the voice in order to produce the desired musical quality to communicated expressive intent.
 * 5) Sing songs and special parts in a range comfortable for changing voices.
 * 6) Sing one part while others are singing contrasting parts, e.g., ostinatos, thirds or sixths by ear.
 * 7) Sustain supportive parts in two- or three-part songs.
 * 8) Control the voice in ensemble singing to provide for better balance and blend.
 * 9) Respond to line notation and hand signs with accuracy. Write and read own symbols for sound.
 * 10) Use nonpitched percussion instruments, classroom instruments, environmental sound sources, folk instruments, and electronic and computer-generated sound sources.
 * 11) Play melodies by ear and from notation on recorder-type, xylophone-type, and keyboard instruments.
 * 12) Perform accompaniments on various instruments and in various styles by ear and from notation.
 * 13) Perform on instruments in ensembles.
 * 14) Explore, and on an elective basis, pursue standard band orchestral instruments.
 * 15) Accompany songs on the autoharp, guitar, piano and other available instruments with attention to pulse of the music.
 * 16) Play simple percussion instruments with accurate rhythm and appropriate dynamics as they accompany songs, chants, or recorded instrumental compositions.
 * 1) Use the body as a sound source in improvising solo or ensemble compositions.
 * 2) Use a variety of vocal sounds, including words, to develop musical ideas.
 * 3) Improvise vocal descants and harmonize parts to familiar songs.
 * 4) Improvise simple ostinato-type accompaniments on pitched instruments, using predetermined sets of pitches. (The Dorian Mode is valuable as a base.)
 * 5) Improvise and notate increasingly elaborate rhythmic accompaniments for songs sung in class.
 * 6) Experiment with variations in tone, tempo, dynamics, and phrasing for expressive purposes, and match the feeling and style of specific songs.
 * 7) Experiment with diverse sound sources, including electronic and computer-generated sound as media for improvisation and composition.
 * 8) Develop composition, notating them in traditional or devised notation, for vocal or instrumental performance.
 * 9) Work with others in ensemble to create compositions.
 * 1) Read musical symbols while translating them into sound singing and playing.
 * 2) Write musical symbols in response to aurally presented tonal and rhythmic patterns.
 * 3) Develop a repertoire of coordinated body movements that can be used to demonstrate an understanding of the elements (basic components) of music.
 * 4) Use appropriate conducting gestures to lead classmates in performing music.
 * 5) Learn representative dances of various times and places.
 * 6) Identify visually and aurally classroom instruments and basic orchestral instruments and develop the ability to listen to a prescribed repertoire of music with understanding and describe what is heard in a musical composition using technical, as well as nontechnical terms to identify such components as pitch and rhythmic organization, melodic contour, timbre, texture, form, tempo, dynamics, articulation, contrasts, and expressive features.
 * 7) Participate in playing and hearing music of their own ethnic and cultural group, as well as that of other students.
 * 8) Distinguish between the elements of music.
 * 9) Verbalize ones response to the affective nature of the musical stimulus including stating the musical elements on which the observation is based.

**//GENERAL MUSIC GRADES 7-9//** The general music course should be designed to accommodate a variety of music activities. Ideally, students should pursue music experiences they have not had the opportunity to pursue before, or choose to concentrate in an aspect of music that has special appeal. Students should be encouraged to continue musical studies throughout the secondary school years and beyond. One year of music during junior or senior high school should be required.

Performing Skills Creating (Composing/Organizing) Skills Listening (Describing/Analyzing) Skills
 * 1) Develop the ability to produce music alone and with others using the voice, environmental sounds, electronic sounds, body sounds, keyboard instruments, and folk instruments.
 * 2) Use the instrument as a means of personal expression and perform on a variety of music instruments.
 * 3) Develop performance skills through the study of idiomatic literature.
 * 4) Perform basic chord patterns upon piano and keyboard type instruments.
 * 1) Experiment with the organization and manipulation of music materials.
 * 2) Demonstrate ability to develop and communicate original musical ideas.
 * 3) Create, arrange, and improvise melodies and accompaniments in a variety of styles.
 * 4) Compose and improvise idiomatic literature.
 * 5) Create music using electronic media.
 * 6) Improvise and play by ear.
 * 1) Describe how instrumental sounds are produced.
 * 2) Listen to, analyze, and discuss the literature studied and similar literature.
 * 3) Develop the perceptual skill and vocabulary to discuss music.
 * 4) Study the common elements of music.
 * 5) Develop further the ability to read and interpret music notation.
 * 6) Develop greater familiarity with the sound of and vocabulary for discussing music of various styles, periods, genres, and cultures.
 * 7) Refine the ability to listen to music with understanding and, upon hearing a work, comment intelligently on its form, texture, historical period, and cultural or aesthetic basis, and its use of media, unity, variety, the elements of music, and compositional devices.
 * 8) Develop the ability to analyze new musical experiences phenomena and make judgments based upon analytical listening and aesthetic sensitivity.
 * 9) Analyze and study the relationships among the fine arts or the humanities and the role and function of the arts or the humanities in civilization, past and present.

**//VOCAL MUSIC GRADES 4-6//** __Vocal music electives__. Elementary music programs often include choral experiences in addition to the general music program. Contemporary educational practices favor mixed groups, but separate boys’ and girls’ groups do exist and function well. Elementary choral music should not be limited to unison songs, public relations projects or seasonal concerts. When the choral program involves the teaching of skills needed for part-singing and other choral techniques, it offers a quality experience for a large number of students. Select choral groups, however, should be developed only after general choral groups, open to all who want to sing, have been provided. Constant attention should be given to the expressive potential of music. Performing Skills Creating (Composing/Organizing) Skills Listening (Describing/Analyzing) Skills Chorus: (Optional) Develop ensemble performance skill such as posture, tone, intonation, breathing, rhythm, and articulation, and use these skills in expressive musical performance.
 * 1) Sing on pitch within an appropriate range.
 * 2) Sing on pitch with a group, recording, or instrument(s).
 * 3) Use an appropriate singing style.
 * 4) Sing a variety of songs: folk, art, patriotic, topical, and other.
 * 5) Sing with attention to changes in dynamics and tempo.
 * 6) Sing a variety of songs by ear and from notation.
 * 7) Sing melodies with increasing accuracy of pitch and rhythm.
 * 8) Gain control over the voice in order to produce the desired musical quality to communicate expressive intent.
 * 9) Sing songs and special parts in range comfortable for changing voices.
 * 10) Sing one part while others are singing contrasting parts, e.g., ostinatos, rounds, and descants.
 * 11) Sustain supportive parts in two- or three-part songs.
 * 12) Control the voice in ensemble singing to provide for better balance and blend.
 * 1) Improvise melodic, rhythmic, and harmonic ideas using the voice, body, or musical instruments.
 * 2) Use a variety of vocal sounds, including words, to develop musical ideas.
 * 3) Improvise vocal descants and harmonize parts to familiar songs.
 * 4) Sing by ear.
 * 5) Improvise descants and harmony parts.
 * 6) Create and notate original compositions.
 * 1) Read the basic symbols of music notation.
 * 2) Read musical symbols while translating them into sound by singing and playing.
 * 3) Write musical symbols in response to aurally presented tonal and rhythmic patterns.
 * 4) Develop a repertoire of coordinated body movements that can be used to demonstrate and understanding of the elements of music.
 * 5) Use appropriate conducting gestures to lead class in performing music.
 * 6) Develop increasing skill in reading and writing music notation.
 * 7) Develop and use a vocabulary of terms to discuss and describe music, both technically and aesthetically.
 * 8) Attend concerts of school, college, or professional quality through field trips or guest appearances and verbally critique them.
 * 9) Recognize the value of individual practice.

**//VOCAL MUSIC GRADES 7-9//** In lieu of the general music classes for ages twelve to fourteen, in which every student is exposed to essentially the same content, it is recommended that each student be free to choose from among a number of diverse options. Considerations for the options should be based on the unique needs of the students, the capabilities of the instructional staff, or the characteristics of the community. Some may be minicourses or other short-term offerings that are developed in response to student needs and that may be combined in flexible sequences. Each option should be considered a satisfactory and equally viable alternative. The options should include mixed choral group, together with one general course per grade level that emphasizes creating and listening activities. Performing Skills Creating (Composing/Organizing) Skills Listening (Describing/Analyzing) Skills
 * 1) Use the singing voice as a means of self-expression.
 * 2) Sing for enjoyment.
 * 3) Study sequentially and systematically in a varied repertoire and develop ensemble performance skills.
 * 4) Develop pitch aware ness and sing a melodic line in tune.
 * 5) Develop ability to sing in unison. (Note: This may be limited because of the changing range of adolescent voices.)
 * 6) Develop ability and strengthen confidence in part-singing: two, three, or four parts; descants, rounds, and canons.
 * 7) Perform with a good singing tone with particular attention to keeping a relaxed vocal quality.
 * 8) Develop vocal production techniques: tone quality, breath control, posture, and diction.
 * 9) Develop and enjoy solo and small group singing.
 * 10) Sing a part accurately in tune with other voices and accompaniment.
 * 11) Produce pure and unified vowel sounds, and clearly articulated consonants.
 * 12) Demonstrate accurate attacks and releases.
 * 13) Perform with phrase sensing, dynamic contrasts, and tempo changes that provide variety and expressive meaning in music.
 * 14) Learn how to blend and balance one’s voice with others.
 * 1) Expand previous learnings.
 * 2) Develop ability to write and sing scales in most widely used keys.
 * 3) Understand chromatic and diatonic scales.
 * 4) Begin to develop a working knowledge and vocabulary of music terms—technical and aesthetic.
 * 5) Read by phrases, emphasizing breath marks, and meaning of texts.
 * 6) Compose and arrange for the group.
 * 7) Improvise in various styles.
 * 8) Hear music intervals and identify them with the voice.
 * 9) Be able to hear and sing back short, melodic dictation.
 * 10) Encourage creativity through simple melody writing and begin to harmonize with I, IV, V chords.
 * 11) Use a systematic counting method.
 * 12) Develop rhythmic reading (dictation or printed page).
 * 13) Demonstrate an understanding of appropriate rhythmic terminology, such as meter, tempo, and accent.
 * 14) Identify and define various forms, such as binary and ternary.
 * 15) Recognize, visually and aurally, elements of a melodic line, e.g., motive, sequence, phrase, and cadence.
 * 16) Recognize, visually and/or aurally, appropriate major and minor tonalities.
 * 17) Learn the relationship of major and minor scales.
 * 18) Demonstrate an understanding of key center by singing the tonic and the starting tone of selected compositions.
 * 19) Recognize the difference between unison and harmony.
 * 1) Listen to, analyze, and study the literature performed.
 * 2) Study the common elements of music in various contexts.
 * 3) Develop knowledge of composers of vocal literature.
 * 4) Become interested in other fields of music and their literature.
 * 5) Understand the expressive qualities of music and how these develop self-expression.
 * 6) Begin to establish criteria for evaluating individual and group performances and make suggestions for improvement.
 * 7) Discriminate between quality of performances in technical and aesthetic terms.
 * 8) Value the creation and recreation of music, understanding the concepts of both.
 * 9) Express enjoyment of the unique experience that is available through participation in a choral group.
 * 10) See the importance of using the singing voice well.
 * 11) Realize the place that music has in one’s life and in the world that is unique to those aspects inherent in music itself.
 * 12) Desire to attend concerts and listen to recordings from a wide variety of styles, genres, and cultures.
 * 13) Develop further knowledge of music history in relationship to human development. Understand the use of music as self-expression.
 * 14) Develop poise and stage presence.
 * 15) Desire further musical experiences.
 * 16) Develop sensitivity to other choral members.
 * 17) Explore music careers by listening to guest speakers and taking field trips.

**//VOCAL MUSIC GRADES 10-12//** Vocal electives. The high school music program should continue to provide performing experiences in voice. While advanced choir, madrigal or other specialized choral activities are usually open only to experienced student by audition; other opportunities should be available for beginning students without special training. Jazz or pop ensembles, as well as show choirs, in addition to mixed chorus, may offer some chances for beginning level performers. Choral groups are to include small groups (and individualized instruction): boys, girls, and mixed intermediate and advanced groups. The expected student outcomes listed for grades 7-9 should be continued at an increasing or expanded level. Additional outcomes for grades 10-12 include: Performing Skills Creating (Composing/Organizing) Skills Listening (Describing/Analyzing) Skills
 * 1) Study sequentially and systematically a widely varied repertory.
 * 2) Participate in public performances occasionally.
 * 3) Develop the singing voice through fundamental vocal drills.
 * 4) Build on part experiences through singing and reading.
 * 5) Develop fine union singing.
 * 6) Improve breath control, posture, intonation, enunciation of vowels and consonants.
 * 7) Improve vocal precision: attacks and releases, final consonants.
 * 8) Strengthen rhythmic perception.
 * 9) Sense the feeling of a melodic phrase.
 * 10) Develop confidence and proficiency in part singing.
 * 11) Follow the director’s interpretation of the score.
 * 12) Vocalize well, using good breath control.
 * 13) Continue to think and sing correct pitches.
 * 14) Read more difficult rhythmic patterns and phrases.
 * 15) Increase blending quality.
 * 16) Learn how to balance parts.
 * 17) Build greater confidence in solo and part-singing.
 * 18) Sing repertoire, which includes divided parts.
 * 19) Sing artistically, using good breath control and tonal production and intonation.
 * 20) Think chorally by listening for balance and blend.
 * 21) Use musicianship for reading and interpretation.
 * 22) Develop ability to recognize and produce correct vowel sounds in every word.
 * 23) Enunciate consonants and learn how to manipulate them for desired effects.
 * 24) Articulate arpeggios and scale passages at directed tempo.
 * 25) Extend range within capabilities.
 * 26) Perform well in solo or small ensemble work.
 * 1) Improvise in various styles.
 * 2) Make decisions with respect to interpretation.
 * 3) Interpret the musical score with understanding.
 * 4) Improvise rhythmic and/or tonal patterns.
 * 5) Improvise melodies on a given chord progression.
 * 6) Create introductions, interludes, and codes for performance.
 * 7) Develop accurate sight-reading.
 * 8) Enlarge musical vocabulary.
 * 9) Hear and sing major and minor triads.
 * 10) Develop a keener ear for interval and chord sensing.
 * 11) Increase sight-reading proficiency.
 * 12) Increase harmonic perception.
 * 13) Compose short melodies and add harmony.
 * 14) Develop the aural perception through melodic, rhythmic, and harmonic dictation.
 * 1) Listen to, analyze, and study the literature performed.
 * 2) Study at an advanced level the elements of music in varying contexts.
 * 3) Recognize and demonstrate the basic conducting patterns of 2, 3, and 4.
 * 4) Experience being accompanied by a variety of instruments.
 * 5) Deepen knowledge of musical history and its relation to human development.
 * 6) Understand the components of beautiful choral sound and understand music as a discipline.
 * 7) Become more sensitive to beauty and artistry in music.
 * 8) Develop discriminative listening skills, based on aesthetic understanding.
 * 9) Know properly how to care for the voice.
 * 10) Develop physical, mental, and aesthetic alertness.
 * 11) Desire to widen musical experiences through attendance at concerts, reading books, and listening to records.
 * 12) Understand the ranges of voices and quality of sound of each section.
 * 13) Develop a greater repertoire of choral literature.
 * 14) Learn how to “tune” a chord.
 * 15) Understand harmonic progression.
 * 16) Understand choral repertoire of various periods and types and recognize stylistic characteristics.
 * 17) Become more discriminating in choice of choral repertoire.
 * 18) Develop a capacity to observe and respond to the implicit intentions of the music score, expressing the content as a performer and reacting to it as a listener.
 * 19) Prepare for fulfilling use of leisure time by developing performance and listening skills.
 * 20) Begin to develop an understanding of music careers and music-related careers.
 * 21) Explore music careers by listening to guest speakers and taking field trips.
 * 22) Stimulate a curiosity towards the creative and interpretive aspects of performances.
 * 23) Develop the ability to analyze strengths and weaknesses in performances, technically and aesthetically.
 * 24) Improve the respect for artistic qualities in music literature of all styles, types, and kinds, and relate music to the proper socio-economic structure in history.
 * 25) Expand an interest in great performing artists and groups and recognize their influence on our society and all cultures.
 * 26) Recognize the common goals of artistic achievement and endeavor from all countries, societies, and cultures.
 * 27) Seek further singing experiences in the church or community.
 * 28) Support school musical events in all fields.
 * 29) Perceive the joy of achievement and necessity for concentrated rehearsals.
 * 30) Cultivate a sense of identity, pride, group spirit and improved self-image through participation in a successful group.
 * 31) Provide for growth in personal traits such as self-confidence, discipline, sacrifice, respect, cooperation, and competition.
 * 32) Become aware of the social qualities of music, leading to enjoyable associations with people in making and listening to music.
 * 33) Develop the ability to express musically a wide range of feelings.
 * 34) Attend concerts of school, college, or professional quality through field trips or guest appearances and evaluate them.
 * 35) Recognize the value of individual practice.
 * 36) Develop an awareness of the aesthetic potential inherent in music and how it can affect the individual.

**//INSTRUMENTAL MUSIC (BAND) GRADES 4-6//** Optional beginning and intermediate instruction in woodwinds, brass, and percussion, as well as other instruments such as guitar and recorder is appropriate for these grade levels. Performing Skills Creating (Composing/Organizing) Skills Listening (Describing/Analyzing) Skills
 * 1) Develop ensemble and solo performance skills such as posture, tone, intonation, breathing, embouchure, fingering, rhythm, articulation, and scales, and use these skills in expressive musical performance.
 * 2) Demonstrate the procedure for tuning the instrument.
 * 3) Perform and articulate selected rhythmic figures with clarity.
 * 4) Perform with sensitivity to ensemble intonation.
 * 5) Perform selected major scales.
 * 6) Study a repertoire, which is sequential and carefully selected.
 * 7) Demonstrate good playing position, proper embouchure, and correct breath support.
 * 8) Demonstrate sensitivity to tone production and resonance.
 * 9) Recognize and play, at sight, rhythmic and tonal patterns.
 * 10) Define and perform selected musical symbols and abbreviations.
 * 11) Demonstrate an awareness of rhythmic terminology, such as meter, tempo, accent, and even and uneven rhythms.
 * 12) Demonstrate appropriate disciplined concert and rehearsal manners, including posture, action, and attire.
 * 1) Respond to dictate rhythm patterns.
 * 2) Demonstrate proper care and maintenance of instrument.
 * 3) Use a systematic counting method.
 * 4) Sing and play melodic intervals and patterns using note names, numbers of solfege.
 * 5) Recognize expressive markings.
 * 6) Recognize the value of private instruction on an instrument.
 * 7) Recognize the value of individual practice.
 * 1) Develop increasing skill in intelligent listening.
 * 2) Develop increasing skill in reading and writing music notation.
 * 3) Develop and use a vocabulary of terms to discuss and describe music.
 * 4) Conduct.
 * 5) Exhibit a preference for many types of music through the purchase of records and videotapes as well as selected television viewing.
 * 6) Develop an awareness of careers in music.

**//INSTRUMENTAL MUSIC (BAND) GRADES 7-9//** Band or Wind Ensemble (including small group and individualized instruction): intermediate and advanced groups. Performing Skills Creating (Composing/Organizing) Skills Listening (Describing/Analyzing) Skills
 * 1) Study sequentially and systematically a widely varied repertoire and develop ensemble and solo performance skills.
 * 2) Employ sophisticated instrument tuning procedures (aural and visual).
 * 3) Independently interpret the music score (individual part.)
 * 4) Match pitches and play a melodic line in tune.
 * 5) Demonstrate correct tone production and resonance, with particular attention to achieving a characteristic sound on an instrument at all dynamic levels.
 * 6) Perform a variety of attacks (including multiple articulations) and releases appropriate to different styles of music.
 * 7) Perform and articulate figures with clarity.
 * 8) Recognize and play, at sight, rhythmic and tonal patterns as they occur in an instrumental line.
 * 9) Define and perform musical symbols and abbreviations.
 * 10) Demonstrate an understanding that dynamic contrasts, various articulations, and tempo changes provide a source of variety and expression in music.
 * 11) Demonstrate an understanding of rhythmic terminology, such as meter, tempo, accent, syncopation, and even and uneven rhythms.
 * 12) Perform major and chromatic scales by memory.
 * 13) Understand the use of vibrato as an expressive element.
 * 14) Play with other instruments in an ensemble and control the individual instrument to achieve the desired group sound, including, volume, vibrato, and timbre.
 * 15) Experience being accompanied by piano, small ensemble, band, or orchestra on standard solo repertoire.
 * 16) Perform with the group in public occasionally.
 * 17) Perform in large and small ensembles.
 * 18) Demonstrate appropriate and disciplined concert and rehearsal manner including posture, action, and attire.
 * 1) Develop a more advanced skill in improvisation.
 * 2) Compose for small ensembles.
 * 3) Use a systematic counting method.
 * 4) Perform or write dictated rhythmic patterns.
 * 5) Perform dictated tonal patterns.
 * 6) Identify, construct, and perform scales and arpeggios, such as major, minor, and other modes, as related to the music.
 * 7) Demonstrate an understanding of key center by singing and playing the tonic and the starting tone of selected songs in several major and minor keys.
 * 8) Sing and play melodic intervals and patterns, note names, numbers, or solfege.
 * 9) Recognize key changes within a song, visually and aurally.
 * 10) Recognize and interpret expressive markings.
 * 11) Recognize and demonstrate the basic conducting patterns of 4, 5, and 6.
 * 12) Recognize the changes in timbre, which result from the addition of mutes to instruments.
 * 13) Recognize the value of private instruction on an instrument.
 * 14) Recognize the value of individual practice.
 * 1) Listen to, analyze and study the literature performed and similar literature.
 * 2) Demonstrate an understanding of various timbres by selecting appropriate instruments for composition and/or arrangements.
 * 3) Study the expressive qualities inherent in music.
 * 4) Explore music careers by listening to guest speakers and taking field trips.
 * 5) Exhibit a preference for many types of music through the purchase of records and videotapes as well as selected television viewing.

**//INSTRUMENTAL MUSIC (BAND) GRADES 10-12//** Band or Wind Ensemble (including small group and individualized instruction): intermediate and advanced groups. Performing Skills Creating (Composing/Organizing) Skills Listening (Describing/Analyzing) Skills
 * 1) Study sequentially and systematically a widely varied repertoire and develop ensemble solo performance skills.
 * 2) Perform with technical proficiency many different rudiments and scales and arpeggios, such as major, minor, and other modes.
 * 3) Demonstrate the preferred fingerings for an instrument.
 * 4) Perform in the extreme (but standard) registers of an instrument.
 * 5) Play a part with accurate intonation and adjust to the vertical structure to produce a finely tuned and balanced chord.
 * 6) Define and apply through performance, standard notation, dynamic and articulation markings, and musical terms.
 * 7) Define and perform with accurate style musical symbols and abbreviations, including grace notes, trills, and rolls.
 * 8) Perform phrase musically, expressing the natural tension and release.
 * 9) Perform music of many styles, forms, and periods, such as popular, classical, jazz, electronic, and traditional.
 * 10) Perform diverse popular and idiomatic literature with varied instrumentation.
 * 11) Recognize the value of amplification equipment and use it correctly where it is appropriate to the style of music.
 * 12) Experience accompanying on a chosen instrument(s) or an instruments such as piano, percussion, guitar or electric bass.
 * 13) Become involved with musical experiences outside of school.
 * 14) Perform with the group in public occasionally.
 * 15) Perform in small ensembles.
 * 16) Demonstrate appropriate and disciplined concert and rehearsal manners including posture, action, and attire.
 * 1) Use a systematic counting method.
 * 2) Improvise in various styles.
 * 3) Make decisions with respect to interpretation.
 * 4) Recognize the function of dissonance in music.
 * 5) Recognize the function of chromaticism, 12-tone row, and tone clusters and their place in 20th Century music.
 * 6) Recognize a Standard Blues progression (visually; aurally).
 * 7) Identify like, unlike, and irregular phrase lengths from aural and visual examples.
 * 8) Recognize the characteristic timbre of the standard band and orchestral instruments.
 * 9) Recognize elements of a melodic line, such as motive, sequence, phrase and cadence (visually and aurally).
 * 10) Recognize the changes in timbre, which result from the addition of mutes to instruments.
 * 11) Improvise rhythmic and/or tonal patterns.
 * 12) Improvise a melody or rhythmic accompaniment on a given chord progression.
 * 13) Recognize the function of tonic (I), subdominant (IV) and dominant (V) chords.
 * 14) Create and write original melodies using melodic and rhythmic notation.
 * 15) Create harmonic accompaniments for existing and original melodies.
 * 16) Arrange/transpose music for a variety of instruments.
 * 17) Create piano, combo, or instrumental accompaniments for songs, introductions or codas to songs, or original harmonies.
 * 18) Expand basic concepts of music through use of instruments, electronic media, and environmental sounds.
 * 19) Experience being part of an ensemble, which accompanies a solo instrument, voice or larger vocal ensemble.
 * 20) Assist in selecting music and arranging the order of programs.
 * 21) Recognize the value of private instruction on an instrument.
 * 22) Recognize the value of individual practice.
 * 1) Listen to, analyze and study the literature performance and similar literature.
 * 2) Study at an advance level the elements of music in vary contexts.
 * 3) Study a verbalize concepts of aesthetic experience in music as they relate to performing, composing, and listening.
 * 4) Evaluate individual and group performances/rehearsals and make suggestions for improvement.
 * 5) Listen to, analyze, and perform music of other cultures.
 * 6) Value the creation and recreation of music.
 * 7) Enjoy the unique experience that is available through participation in an instrumental ensemble and the performance of band literature.
 * 8) Identify and define characteristics of different large forms of music, such as symphony, concerto, opera, theme and variation, sonata, fugue, and rondo in music.
 * 9) Make judgments on music in everyday life, such as church, radio, television recordings, and concerts and in the home.
 * 10) Demonstrate knowledge of various types of music in today’s society and the social, economic, and scientific conditions influencing music.
 * 11) Function as a student conductor in either junior or senior high school instrumental classes.
 * 12) Attend concerts/clinics of school, college, or professional quality through field trips or guest appearances.
 * 13) Discuss and evaluate concert and clinic performances.
 * 14) Exhibit a preference for many types of music through the purchase of records and videotapes, concert attendance and television viewing.

**//INSTRUMENTAL MUSIC (ORCHESTRA) GRADES 4-6//** For these grade levels, optional beginning and intermediate instruction in violin, viola, cello, and bass. Performing Skills Creating (Composing/Organizing) Skills Listening (Describing/Analyzing) Skills
 * 1) Develop individual and ensemble performance skills.
 * 2) Demonstrate the procedure for tuning the instrument.
 * 3) Perform selected rhythmic figures at sight and with clarity.
 * 4) Demonstrate an awareness of rhythmic terminology.
 * 5) Perform with attention to intonation.
 * 6) Perform selected major scales.
 * 7) Study a repertoire, which is sequential and carefully selected.
 * 8) Demonstrate good posture and playing position.
 * 9) Demonstrate sensitivity to tone production and resonance.
 * 10) Recognize and utilize selected musical symbols and abbreviations.
 * 11) Demonstrate appropriate disciplined concert and rehearsal manners including posture, action, and attire.
 * 1) Respond to dictated rhythm patterns.
 * 2) Demonstrate proper care and maintenance of instrument.
 * 3) Use a systematic counting method.
 * 4) Sing and play melodic intervals and pattern using note names, numbers or solfege.
 * 5) Recognize expressive markings.
 * 6) Recognize the value of private instruction on an instrument.
 * 7) Recognize the value of individual practice.
 * 1) Develop increasing skill in reading and writing music notation.
 * 2) Develop and use a vocabulary of terms to discuss and describe music.
 * 3) Exhibit a preference for many types of music through the purchase of records and videotapes as well as selected television viewing.
 * 4) Develop an awareness of careers in music.

**//INSTRUMENTAL MUSIC (ORCHESTRA) GRADES 7-9//** Performing Skills Creating (Composing/Organizing) Skills Listening (Describing/Analyzing) Skills
 * 1) Study sequentially and systematically a widely varied repertory and develop ensemble and solo performance skills.
 * 2) Employ sophisticated instrument tuning procedures.
 * 3) Interpret the individual part independently.
 * 4) Match pitches and play a melodic line in tune.
 * 5) Demonstrate correct tone production and resonance, with particular attention to achieving a characteristic sound on the instrument at all dynamic levels.
 * 6) Perform a variety of bowing styles appropriate to different styles of music.
 * 7) Perform rhythmic figures with clarity.
 * 8) Recognize and play, at sight, rhythmic and tonal patterns as they occur in an instrumental line.
 * 9) Define and utilize music symbols and abbreviations.
 * 10) Demonstrate an understanding of rhythmic terminology.
 * 11) Understand the use of vibrato as an expressive element.
 * 12) Perform in large and small ensembles in public.
 * 13) Demonstrate appropriate and disciplined concert and rehearsal manner including posture, action, and attire.
 * 14) Play with other instruments in an ensemble and control the individual instrument to achieve the desired group sound, including volume, vibrato, and timbre.
 * 15) Experience being accompanied by piano on standard solo repertoire.
 * 1) Use a systematic counting method.
 * 2) Identify, construct, and perform scales and arpeggios, such as major, minor and other modes.
 * 3) Sing and play melodic intervals and patterns using note names, numbers or solfege.
 * 4) Improvise in predetermined patterns using ostinati patterns as accompaniment.
 * 5) Compose for small ensembles.
 * 6) Recognize key changes within a song, visually, and aurally.
 * 7) Recognize and interpret expressive markings.
 * 8) Recognize and demonstrate the basic conducing patterns of 2, 3, and 4.
 * 9) Recognize the characteristic timbre of orchestral instruments.
 * 10) Recognize the value of private instruction on an instrument.
 * 11) Recognize the value of individual practice.
 * 1) Listen to, analyze and study the literature performed and similar literature.
 * 2) Study the expressive qualities inherent in music.
 * 3) Explore music careers by listening to guest speakers and taking field trips.
 * 4) Exhibit a preference for many types of music through the purchase of records and videotapes as well as selected television viewing.

**//INSTRUMENTAL MUSIC (ORCHESTRA) GRADES 10-12//** Performing Skills Creating (Composing/Organizing) Skills Listening (Describing/Analyzing) Skills
 * 1) Study sequentially a systematically a widely varied repertoire and develop ensemble and solo performance skills.
 * 2) Perform with technical proficiency many different rudiments and scales and arpeggios, such as major, minor, and other modes.
 * 3) Demonstrate the preferred fingerings for an instrument.
 * 4) Perform in the higher positions of an instrument.
 * 5) Play a part with accurate intonation and adjust to the vertical structure to produce a finely tuned and balanced chord.
 * 6) Define and apply through performance: standard notation, dynamic and bowing markings, and musical terms.
 * 7) Define and perform with accurate style musical symbols and abbreviations.
 * 8) Perform phrases musically, expressing the natural tension and release.
 * 9) Perform music of many styles, forms, and periods.
 * 10) Be a member of an orchestral ensemble.
 * 11) Experience being part of an ensemble, which accompanies a solo instrument, voice, or large vocal ensemble.
 * 12) Become involved with musical experiences outside of school.
 * 13) Experience public performance both individually and with a group.
 * 14) Perform appropriate and disciplined concert and rehearsal manners including posture, action, and attire.
 * 1) Use a systematic counting method.
 * 2) Make decisions with respect to interpretation and expressiveness.
 * 3) Recognize the function of dissonance in music.
 * 4) Recognize the function of chromaticism, determinant, and electric music, and their place in 20th Century music.
 * 5) Identify like, unlike, and irregular phrase lengths from aural and visual examples.
 * 6) Recognize elements of a melodic line, such as motif, sequence, phrase and cadence (visually and aurally).
 * 7) Recognize the characteristic timbre of orchestral instruments.
 * 8) Arrange/transpose music variety of instruments.
 * 9) Refine improvisation skills.
 * 10) Compose for small ensemble within the larger group.
 * 11) Recognize the value of private instruction on an instrument.
 * 12) Recognize the value of individual practice.
 * 1) Listen to, analyze, and study the literature performed and similar literature.
 * 2) Study at an advanced level the elements of music in varying contexts.
 * 3) Evaluate individual and group performances.
 * 4) Listen to, analyze, and perform music of other cultures.
 * 5) Value the creation and recreation of music.
 * 6) Enjoy the unique experience that is available through participation in an instrumental ensemble and the performance of orchestral literature.
 * 7) Identify and define characteristics of different large forms of music.
 * 8) Study and verbalize concepts of aesthetic experiences in music as they relate to performing, composing, and listening.
 * 9) Explain the physical properties of sound and their mathematical relationship.
 * 10) Demonstrate understanding of music careers and music related careers, job availability, job description, qualifications, and training or education necessary.
 * 11) Explore music careers by listening to guest speakers and taking field trips.
 * 12) Prepare for fulfilling use of leisure time by developing good listening skills in music.
 * 13) Make judgments on music in everyday life, such as church, radio, television recordings, concerts, and in the home.
 * 14) Demonstrate knowledge of various types of music in today’s society and the social, economic and scientific conditions influencing music.
 * 15) Attend concerts/clinics of school, college or professional quality through field trips or guest speakers.
 * 16) Discuss and evaluate concert and clinic performances.
 * 17) Exhibit a preference for many types of music through the purchase of records and videotapes, concert attendance and television viewing.

**//ASSESSMENT AND EVALUATION OF THE MUSIC PROGRAM//** Evaluation is perhaps the least understood and most neglected part of the process of music teaching. Often, minimal attention is given to it in teacher training, and without this foundation, workshops and state guides on evaluation can be only of marginal value. Evaluation, however, is probably the most important single step of the teaching process. It is applicable to programs advocating any attainable objective, whether behaviorist or other. In any mode of instruction, evaluation is a process, a teaching device, which can individualize the learning experience in a unique and meaningful fashion. Evaluation is also helpful in determining mastery or the lack of it in those instances where learning is additive and certain skills or knowledge are critical to effective learning of more complex concepts. Evaluation is a means for providing data for planning, for determining the appropriateness of objectives, the efficacy of means, the selection of students, and the determination of the potentials of the student and of the learning situation. Thus, evaluation is a continuous process, used in the formative stages as well as the summative. Evaluation is a tool used by the student to provide information, which will aid in reaching the personal goals and standards established, as well as those established by the school. Evaluation is a tool for the teacher, which is used to improve teaching techniques and the learning of students. Evaluation of learning resources is a means by which the administrator can judge the role of administration in supporting the teaching and learning of music. These three areas, along with an evaluation of the teaching situation, including the community, add up to a meaningful way in which one can discuss accountability. Evaluation is a teacher-constructed test, an observation, a questionnaire, a standardized test, a concert, and a host of other devices; but no device is meaningful for the improvement of instruction unless data are collected systematically. Evaluative data must be collected from a variety of devices and then interpreted in light of a teacher’s own experience and professional knowledge. As Richard Colwell has pointed out in his book, __The Evaluation of Music Teaching and Learning__, 13 “Skepticism concerning evaluation is difficult to explain in the musician, since the performer is evaluated regularly both at his/her lessons and in recitals and concerts. The composer is judged at the first performance of his/her composition and at every succeeding performance of it.” When musical skills are emphasized and standards maintained, when careful attention is paid to instructing the individual, musicians invariably, carefully, and systematically use evaluation in their teaching. When group-teaching techniques are used, however, and group goals stressed, group evaluation methods are uniquely omitted. In a sound music education program, all of the following evaluative techniques are of value.

**//EVALUATIVE TOOLS//**
 * 1) Audio and video tape recorders are to the musician as the proverbial picture worth a thousand words. Students can gain valuable insights into their individual performances by observing or hearing themselves in a structured situation. The teacher can use these devices to examine the strengths and weaknesses of the teaching/learning situation, which are not obvious under the stress of teaching.
 * 2) Students should be allowed experiences in making judgments. One of the major tasks in listening or performing is judgment, judging the suitability of one’s own performance and the performance of others. Making critical decisions about one’s own performances or that of another provides a means for motivation, for developing values, and for increasing aural attention to the details of performance. Students often set higher standards for themselves than those of the teacher. The effectiveness of group opinion and peer standards is well known.
 * 3) Interviews with students are very time consuming, but there are objectives in the elementary music programs that are best evaluated in this way. Some data on attitudes can be gleaned through interviews. Evaluation of the teacher and of situational factors may also be accomplished with this technique. Time will probably not allow every student to be interviewed, but when the purpose is to improve teaching or to evaluate the current situation, the general ability level of the students, or the many other factors that affect the learning of an entire class, this is necessary.
 * 4) Written assignments, often known as student logs, can be used to discover the range of the student’s music activities beyond the classroom. When objectives are concerned with attitudes, habits, and the relationship of music to other subjects, and the student’s use of music in after-school activities, a log may be very effective if it is systematic and regular.
 * 5) The critical incidence test is another type of written assignment. Here, the student describes the best and/or worst situations of some recent event, from yesterday’s class, last week’s concert, or some other period. The teacher should also contribute to such an activity and must be open-minded to the student’s reaction and degree of understanding. A variation of the critical incidence test can be used to identify significant events that should occur in every classroom. One might ask administrators, parents, students, or others (the respondents are dependent on the task) to suggest the six most important events that should happen in the music class, the six to be avoided, or any item important to the teaching/learning situation.
 * 6) Scaling techniques are useful if handled with care. Students certainly cannot learn effectively when they dislike the subject or have a negative attitude toward the objectives. An attitude scale is usually a list of statements, each reflecting a slightly different point of view to which the individual responds with strongly agree, agree, no opinion, disagree, strongly disagree or a similar set of choices. Teachers must be subtle in construction these scales as students prefer to make the “right” response rather than the honest one. Open-minded questions can also reveal attitudes, but the wide range of answers makes them nearly impossible to score.
 * 7) Preference techniques are a type of scale and are much easier to construct than the attitude scale. The student uses a scale to provide an indication of the strength of preference or ranks music, subjects, or other items from a given list.
 * 8) Checklists are useful, but can be dangerous because they are so simple. Teachers may feel they have been evaluated if they have derived some data by using this tool. Just because something is objective does not mean it is valid or sufficient. Many curriculum guides recommend checklists such as the student has grown in his or her singing voice, the student has grown in recognition of aural patterns. These are useless and often misleading. Checklists are best used to enumerate a number of items such as care of instrument, readiness to begin activity, and the like.

**//ADMINISTRATION OF THE MUSIC PROGRAM//** Establishing and maintaining a quality music education program in any school system is predicated upon quality instruction and the extent to which the local board of education commits itself to the program in terms of staff, facilities, and budget. To be sure, an adequate budget will not guarantee quality instruction or the most efficient use of facilities and equipment, but the competent teacher who has the materials, equipment, and space to promote musical learning is in a better position to guarantee successful musical experiences. The purpose of this section is to provide administrators, boards of education, supervisors, and teachers with guidelines for effective instruction in music. Staffing the Music Program The music program can be successful only if it is staffed with qualified and competent music personnel, specifically educated for the positions they hold and totally dedicated to the music education of the student with whom they have been entrusted. A special certificate in music provides that the holder may be assigned to teach general music, choral music, or instrumental music at any level; however, the astute administrator will recommend teachers for employment only in assignments which are appropriate to their areas of concentration and experience. The ethical teacher, on the other hand, will accept only those assignments in which he/she is confident and competent. The teacher who is competent to teach in all areas and at all levels of instruction is a rare individual, indeed. Most critical to effective instruction is adequate staff so that teachers may establish rapport, assess the needs, and evaluate the progress of individual students. Teachers also need time to communicate with their colleagues in the general classroom so that musical instruction may be correlated and integrate with other disciplines. Adequate attention to individual students becomes impossible when there are too many students and when there are too many classes to permit time for teachers to coordinate their instructional activities. If the school subscribes to the goals of music education set forth in this guide, teachers must be provided with conditions, which will permit and encourage creative and productive teaching. The greatest single constraint to effective instruction, particularly at the elementary level, is excessive pupil-teacher ratios. Elementary music teachers traditionally receive little consideration when it comes to determining teacher loads. Exclusive of special performing groups, the general music teacher’s assignments should not exceed those of any other teacher, either in terms of class size or in numbers of preparations per week. In schools that are organized around individualized guided education or similar educational plans, which emphasize individualization, music teachers should participate directly in unit or grade level planning and in decision making. They should be considered members of the unit team. Since music teachers work with children in a more personalized setting, their expertise should also be sought in the development of Individualized Educational Program for students who have learning or emotional handicaps. Special teachers often have exceptional insights concerning the perceptual and psychomotor abilities of special students. Music instruction, under the right conditions, can have a positive therapeutic effect on the learning abilities and progress of individual students.

**//THE ELEMENTARY MUSIC SPECIALIST//** While minimum standards allow that elementary classroom teachers can teach music within their own classrooms, the undergraduate college curricula does not provide for adequate comprehensive musical preparation; therefore, the teaching of musical concepts should be designated to a fully qualified and certificated music specialist. The classroom teacher should assume the role of catalyst and reinforcing agent and use the music taught to enhance daily learning in music and other subject matter areas. This requires time for communication between teacher and specialist. Assuming an average of 25 pupils in each of the classrooms, the teacher would be responsible for 350 students per week, excluding considerably larger numbers of students enrolled in chorus. It is also assumed that the daily teaching would be used to communicate with teachers at all grade levels, contribute to planning sessions, to select and deliver materials to classroom teachers, to make tape recordings of accompaniments to songs, make tapes for listening stations, and prepare other kinds of instruction aids. Effective communication and planning are essential to assure that music will be integrated into the total curriculum. The Elementary Instrumental Music Specialist Patterns of instrumental instruction vary greatly in the elementary school. As a rule, there should be sufficient personnel to provide beginning and intermediate class instruction for each student at least twice each week for a minimum of 30 minutes per class. Elementary instrumental instruction will be treated at greater length under the heading of instrumental music. The Middle/Junior High School Music Specialist Music instruction for students in the middle/junior high years should be the exclusive domain of the music specialist because of the more complex and specialized stage of musical development of the student at this level. Each middle/junior high student should be operating as an individual musical learner; this requires that the music instructor devote much more time to planning, guiding, and providing resources. Teaching assignments in music should not exceed those of other teachers in terms of class assignments of total preparations. A teacher-pupil load of 1:270 is recommended when general music or music laboratory classes constitute a major portion of the teacher’s assignment. Responsibilities for performing organizations should be considered on the same basis as a preparation for a class in English, social studies, or mathematics. In addition to the thorough understanding of the early adolescent individual, the middle/junior high music teacher must have a comprehensive understanding of both general music and his/her own area of concentration, choral or instrumental music. Yearlong general music and other laboratory experiences are required for every child, at least through grade seven, and must be provided as an elective for at least one other year. This is generally interpreted to mean the offering of band, orchestra, or chorus for all seventh, eighth, and ninth grade students. The standards permit the substitution of a performing organization, providing the same content is presented. Band, orchestra, chorus, and small ensembles should be available to all students who have a desire to pursue special interest areas. There should be sufficient qualified staff to serve all these special needs. Performance organizations are, therefore, curricular rather than extracurricular, and should be scheduled on school time at least three periods weekly.

**//THE HIGH SCHOOL MUSIC SPECIALIST//** The high school music instructor should be prepared to serve the needs of the nonperforming high school student, as well as the highly motivated and often carefully selected student who enrolls in performing organization. Among the extended musical experiences to be provided for high school students should be laboratory and exploratory experiences which are designed for students who may have only a passing curiosity about music or who are deeply and keenly interested in the content and structure of music. Most often these interest can be served only through intensive courses in electronic music, theory, history, literature, composition, and the like. In essence, the high school music instructor must be a complete musician. Teaching assignments in the high school should be equivalent to those expected of other teachers, even though pupil/teacher ratios will necessarily exceed those in other disciplines because of large performing groups should be taken into consideration, also, when highly specialized classes are offered, but may attract enrollments lower than minimums set by the administration. As an example, a teacher may have a band with more than 100 students enrolled, but students who wish to enroll in music theory may be denied the course on the basis that only ten students are enrolled. It is recommended that, in such cases, consideration be given to the teacher’s total pupil contact hours and that the class be allowed on the basis of the average, providing it exceeds the minimum enrollment set by the board of education. **//Coordination/Supervision://** A quality music program is focused and coordinated. These conditions require leadership from a qualified and experienced music educator with a broad outlook regarding both the music program and the total educational program. The person is responsible for the leadership, coordination, and management of the music program and is involved in the selection of the teaching staff in music. In addition, this person is a member of the school district administration, a circumstance that allows for effective communication about the program with both the administration and the public. It is recommended that, in school districts where there are at least five, but less that ten music teachers, one person should be designated as music department chairperson, with up to one-fourth of his/her time set aside for assisting other teachers and taking care of administrative details. In school districts where there are ten to fifteen music teachers, a full-time, qualified and certificated music supervisor or coordinator should be employed. **//Paraprofessional Assistance//** Paraprofessionals can also assist students who are working in individualized instruction situations. They should be given definite assignments so that the music teacher may be assured of assistance on a regular basis. One of the most important sources of instructional assistance are college students who must complete their field-based and clinical experiences prior to student teaching under the teacher education standards. These students can be of inestimable benefit when they are assigned to assist students who need coaching or special instruction and assistance with instruction. They should not be relegated to custodial roles, such as sorting and filing music. Teachers should have the right to accept or reject additional personnel in the classroom, to determine the time during the school year when it will be expedient to work with a college student or students, and how many students can be accommodated in any day or period of time. **//Volunteers//** Volunteer community resources are an invaluable source of supplementary assistance and expertise that should be tapped more effectively. Music personnel should be encouraged to identify and enlist the assistance of guest performers, amateur and professional instrument makers, secretaries, photographers, electronic experts, accompanists, librarians, retired teachers, and others. Such assistance can be identified through service clubs, the Federation of Music Clubs, the League of University Women, retired citizen’s groups, Delta Kappa Gamma, and any other organization dedicated to community service or support of the arts. Suitable recognition should, of course, be given when such persons give of their time, energies, and expertise.

Abramson, Robert M. __Rhythm Games for Perception and Cognition__. Volkwein Bros., Inc. Pittsburgh, PA, 1973. Artman, Ruth, ed., __Hal Leonard Song Kit #1__. (Christmas songs with descants) Hal Leonard Publishing Corp., Milwaukee, WI, 1981. Beethoven, Jane and Carmen Moore. __Rock-it__. (Christmas songs with descants) Hal Leonard Publishing Corp., Milwaukee, WI, 1981. Bennett, Michael D. __Ear-Bending__. 12 on- and off-beat guides to classical listening. Pop Hit Publication, Memphis, TN, 1977. Bennett, Michael D. __Pop Hit Listening Guide__. Pop Hit Publications, Memphis, TN, 1977. Bennett, Michael. __Studio Sounds__. Pop Hit Publications, Memphis, TN, 1977. Benson, Warren. __Creative Projects in Musicianship__. A report of CMP pilot projects in teaching contemporary music at Ithaca College and Interlochen Arts Academy. MENC, Reston, VA, 1967. Blansini, Americole and Lenore Pogonowski. __MMCP Interaction__. Early Childhood Music Curriculum. Americole, Bellingham, WA, 1970. Boswell, Jacquelyn. __The Young Child and Music: Contemporary Principles in Child Development and Music__ __Education__. MENC, Reston, VA, 1985. Carter, John and Mary Kay Beall. __Sol Fa So Good__. Somerset Press, Carol Stream, IL, 60188. Choksy, Lois. __The Kodaly Method__. Prentice-Hall, Englewood Cliffs, NJ, 1974. Choksy, Lois, Robert M. Abramson, Avon E. Gillespie, and David Woods. __Teaching Music in the__ __Twentieth Century__. Prentice-Hall, Englewood Cliffs, NJ, 1986. Daniel, Katinka Scipiades. __Kodaly in Kindergarten__. Mark Foster Music Co., Champaign, IL, 1981. Dorian, Margern. __Ethnic Stories for Children to Dance__. Musik Innovations, Allison Park, PA, 1978. Edelstein, Stefan, Lois Chosky, Paul Lehman, Njall Sigurdsson, and David Woods. __Creating Curriculum in__ __Music__. Addison-Wesley Publishing Co., Menlo Park, CA, 1980. Elliott, Dorothy Gail. __Sight Singing for Young Teens__. J. Weston Walch Pub., Portland, ME, 04104. Erdei, Peter. __150 American Folk Songs__. Boosey Hawkes, NY, 1974. Findley, Elsa. __Rhythm and Movement__. Applications of Dalcroze Eurhythmics. Summy-Birchard Co., Evanston, IL, 1971. Hawthorne, Grace. __There’s More to Musicals Than Music__. Somerset Press, Carol Stream, IL, 1980. Hotchkiss, Gwen and Margaret Athey. __Treasure of Individualized Activities for the Music Class__. Parker Publishing Co., NY, 1977. Keller, Wilhelm. __Orff-Schulwerk Introduction to Music for Children__. Schott, NY, 1974. Kodaly, Zoltan. __333 Elementary Exercises__. Boosey & Hawkes, NY, 1941. Landis, Beth and Polly Carder. __Eclectic Curriculum in American Music Education: Contributions of__ __Dalcroze, Kodaly, and Orff__. MENC, Reston, VA, 1972. McLin, Lena. __Pulse, a History of Music__. Kjos, Publishers, San Diego, CA, 1977. Metcalf, Leon V. __Phonics in Song__. Pro-Art Publications, NY, 1978. Nash, Grace C. __Music With Children__. Verse and movement. Swarthout Enterprises, Box 476, Scottsdale, AZ. Nelson, Esther. __The Silly Songbook__. Sterling Publishing Co., NY, 1982. Nye, Robert, Vernice Nye, Neva Aubin, and George Kyme. __Singing with Children__. Wadsworth Publishing Co., Belmont, CA, 1970. Ramsey, Marjorie. __It’s Music__! Association for Childhood Education International, MENC, Reston, VA, 1984. Regelski, Thomas. __Teaching General Music__. Schirmer Books, Macmillan, Inc., NY, 1976. Richards, Mary Helen. __Threshold to Music__. Schirmer Books, Macmillan, Inc., NY, 1984. Schafer, R. Murray. __Creative Music Education__. Schirmer Books, Macmillan, Inc., NY, 1976. Standifer, James and Barbara Reeder. __Source Book of African and Afro-American Materials for Music__ __Educators__. MENC, Reston, VA, 1971. Thomas, Ronald. __MMCP Synthesis__. Manhattanville Music Curriculum Project. Americole, Bellingham, WA, 1979. Wadsworth and Wheeler, __Let’s Read Music in Junior High School__. Vol. I, II. Dickson-Wheeler, Inc., NY. Wallach, Sylvia. __Create and Celebrate Choral Builder Program__. Sylvonics, Chicago, IL, 1983. Weikart, Phyllis S. __Teaching Movement and Dance__. A Sequential Approach to Rhythmic Movement. The High/Scope Press, High/Scope Research Foundation, Ypsilanti, MI, 1982. Wheeler and Raebeck. __Orff and Kodaly Adapted for the Elementary School__. Wm. C. Brown & Co., Dubuque, IA, 1975. Wirth, Marian, Verna Stassevitch, Rita Shotwell, and Patricia Stemmler. __Musical Games, Fingerplays, and__ __Rhythmic Activities for Early Childhood__. Parker Publishing Co., Inc., NY, 1983. Yurko, Michiko. __No-H-Snake: Music Theory for Children__. Alfred Publishing, Inc., Sherman Oaks, Ca 1979. Addresses for additional materials or other resources: Kodaly Musical Training Institute, Inc., 5254 Worcester Street, Wellesley, MA Metropolitan Opera Guild, c/o R.C.A. Records Choristers Guild, P.O. Box 38188, Dallas, TX Sweet Adelines, Inc., 5334 E. 46th St., P.O. Box 45168, Tulsa, OK 74145 WE Educational Music Pub., 2104 Poplar St., Terre Haute, IN 47803 Lyons Music Fundamentals for Students, 430 Wrightwood Avenue, Elmhurst, IL 60126 The Sight and Sound of Music, Shawnee Press, Delaware Water Gap, PA 18327 S.P.E.W.B.S.Q.S.A. Inc., 6315 Third Ave., Kenosha, WI 53141 American Orff-Schulwerk Association, Box 391089, Cleveland, OH 44139-1089 West Music Co., 1212 Fifth St., Coralville, IA 52241 RESOURCES If reference to some other resources is needed related to curriculum development, student outcomes, goals and objectives, or scope and sequence in music education, the following may be of value. __“Music,” Comprehensive Arts Education: A Manual for Planners__. Michigan State Board of Education, Lansing, MI, 48908, 1980. __“Music,” Fine Arts and Physical Education: Minimum Standards Implementation Series__. Ohio Department of Education, Columbus, OH, 1983. __A Guide for Planning Musical Experiences__. Ohio Department of Education, Columbus, OH, 43215. __Instructional Objectives for Music__. Dr. Harry R. Mamlin, Indianapolis Public Schools, Indianapolis, IN, 46204. __Curriculum Review Handbook: The Arts__. Oklahoma State Department of Education, Oklahoma City, OK, 1985. __Music in Mississippi Secondary Schools__. Mississippi Department of Education, Jackson, MS, 1977. __“Music,” Visual and Performing Arts Framework for California Public Schools__. Curriculum Frameworks and Instructional Materials Section, California State Department of Education, Sacramento, CA 95814, 1982. __Elementary Music: Guidelines for Elementary Music Education in Illinois__. Office of the Superintendent of Public Instruction, State of Illinois, Springfield, IL. __The School Music Program: Description and Standards__. 2nd ed., Music Educators National Conference, Reston, VA, 1986.
 * //BIBLIOGRAPHY: GENERAL MUSIC PROGRAM K-12//**

**//ENDNOTES//** 1 Charles Leonhard and Robert House, __Foundations and Principles of Music Education__, 2nd ed. (New York: McGraw-Hill, 1972), pp. 3 & 114. 2 See Part Four for further explanation of these activities. 3 __The School Music Program: Description and Standards__, 2nd ed. (Reston, VA: MENC, c. 1986, reprinted by permission), p. 12. 4 Ernest L. Boyer, __High School, A Report on Secondary Education in America__ (New York: Harper and Row, 1983), pp. 97-98 5 Mortimer J. Adler, __The Paideia Proposal__ (New York: Macmillan Publishing Co., 1982), pp. 23-24. 6 __Academic Preparation for College: What Students Need to Know and Be Able to Do__ (New York: The College Board, 1983), pp. 16-18. 7 John Goodlad, __A Place Called School__ (New York: McGraw-Hill, 1984) pp. 134-6. 8 __A Place Called School__, p. 287. 9 “The Time for Basic Education,” __Basic Education__, 25 (March, 1981), 3-5. 10 __The School Music Program: Description and Standards__, 2nd ed. (Reston, VA: MENC, c. 1986, reprinted by permission), p. 12. 11 Howard Gardner has identified six basic “intelligences,” of which music is one. See his __Frames of Mind: The__ __Theory of Multiple Intelligences__ (New York: Basic Books, Inc., 1983). 12 __The School Music Program: Description and Standards__, 2nd ed. (Reston, VA: MENC, c. 1986, reprinted by permission), p. 12. 13 Richard Colwell, __The Evaluation of Music Teaching and Learning__ APPENDIX V: MUSIC – DESIGN FOR A COURSE OF STUDY A COURSE OF STUDY A philosophy of Music Education: (1) Reflects beliefs about: music, the content of musical instruction, and approaches to teaching music. (2) Is valid for the discipline of music and consistent with the general philosophy of the school district. Comprehensive Goals for Music Program: Derived from and consistent with the philosophy of music education. Content Objectives of Music Program: Derived from and consistent with the goals. Stated in the form of objectives, which define content as both concepts and skills. Learning Sequence: Derived from and consistent with the content of the music program. Sequence based upon the nature of the subject as well as the background and needs of the learner. Pupil/Program Evaluation: Derived from and consistent with content of daily instruction in each content area.

**//APPENDIX VI: MUSIC – A CURRICULAR DESIGN, K-6//** Rhythm Melody Harmony/Texture Form Timbre Expressive Elements
 * //KINDERGARTEN MUSIC CURRICULUM//**
 * 1) Respond to steady beat through body movement.
 * 2) Recognize long and short sounds.
 * 3) Distinguish beat from rhythm.
 * 4) Distinguish between sound and silence.
 * 5) Distinguish between fast and slow.
 * 1) Explore and discover singing and speaking voices.
 * 2) Recognize melodic direction (up and down).
 * 3) Develop tone matching ability beginning with sol-mi (m3).
 * 4) Distinguish between high and low sounds.
 * 1) Differentiate between accompanied and unaccompanied.
 * 2) Play simple accompaniments, i.e., autoharp chords, bordun, nonpitched instruments using a steady beat.
 * 1) Develop awareness of like words and phrases.
 * 2) Sing call and response forms.
 * 3) Experience AB and ABA forms.
 * 1) Distinguish among men’s, women’s, and children’s voices.
 * 2) Identify by sight and sound simple classroom instruments.
 * 3) Identify singing and speaking voice.
 * 1) Distinguish between loud and soft sounds.
 * 2) Interpret expressiveness through movement.

**//FIRST GRADE MUSIC CURRICULUM//** Rhythm Melody Harmony/Texture Form Timbre Expressive Elements
 * 1) Continue to emphasize steady beat.
 * 2) Reinforce concept of slow and fast.
 * 3) Recognize long and short sounds and silence.
 * 4) Experience and read rhythm pattern combination using quarter notes, quarter rests, eighth notes, and half notes.
 * 5) Identify stressed beats.
 * 6) Introduce duple and triple meter.
 * 7) Perform rhythmic ostinati as accompaniment.
 * 1) Master tone matching of sol-mi.
 * 2) Introduce la.
 * 3) Reinforce high/low pitches.
 * 4) Reinforce melodic direction.
 * 5) Introduce steps and leaps.
 * 6) Introduce 2 line staff.
 * 7) Continue to explore the range of possibilities of the singing and speaking voice.
 * 8) Begin simple improvisation experiences.
 * 1) Differentiate between solo/chorus.
 * 2) Differentiate between single instrument/many instruments.
 * 3) Perform simple accompaniments.
 * 4) Perform simple speech ostinati.
 * 1) Distinguish like from unlike phrases.
 * 2) Continue AB, ABA, and call and response forms.
 * 3) Introduce rondo form.
 * 1) Continue awareness of sound made by adult and children’s voices.
 * 2) Reinforce names and sounds of classroom instruments.
 * 3) Introduce instruments of the orchestra.
 * 1) Continue to distinguish between loud/soft sounds.
 * 2) Introduce getting louder/getting softer.
 * 3) Demonstrate awareness of expressiveness in music.

**//SECOND GRADE MUSIC CURRICULUM//** Rhythm Melody Harmony/Texture Form Timbre Expressive Elements
 * 1) Continue to emphasize steady beat.
 * 2) Reinforce concept of slow and fast.
 * 3) Introduce getting slower/getting faster.
 * 4) Introduce steady beat/no beat.
 * 5) Continue experience with long and short sounds and silence.
 * 6) Distinguish between melodic rhythm and steady beat.
 * 7) Distinguish between duple and triple meters.
 * 8) Continue experience with strong beats.
 * 9) Continue experience with rhythm pattern combinations using quarter notes, quarter rests, eighth notes, half notes, half rests, and whole notes.
 * 10) Perform rhythmic ostinati as accompaniment.
 * 1) Continue experiences with sol-mi-la.
 * 2) Introduce do-re.
 * 3) Continue development of singing voice with good tone quality.
 * 4) Develop visual and aural recognition of:
 * 5) high/low
 * 6) upward/downward melodic direction
 * 7) same/different melodic phrases
 * 8) repeated tones
 * 9) steps and leaps
 * 10) Continue improvisation experiences.
 * 1) Continue aural recognition of:
 * 2) solo/chorus
 * 3) single instrument/many instruments
 * 4) Introduce harmony/no harmony
 * 5) Continue to play and sing simple ostinati patterns.
 * 1) Develop concept of repetition/contrast.
 * 2) Continue:
 * 3) call and response
 * 4) AB
 * 5) ABA
 * 6) Rondo
 * 7) Introduce:
 * 8) AABA
 * 9) Introduction
 * 10) Coda
 * 11) Interlude
 * 1) Distinguish between instruments of the orchestral families.
 * 1) Identify contrasts in dynamics.
 * 2) Emphasize the expressive qualities inherent in music.

**//THIRD GRADE MUSIC CURRICULUM//** Rhythm Melody Harmony/Texture Timbre Form Expressive Elements
 * 1) Demonstrate mastery of steady beat.
 * 2) Introduce concept and recognition of terms accelerando and ritard.
 * 3) Emphasize experiences with rhythm pattern combinations using quarter notes, quarter rests, eighth notes, half notes, half rests, whole notes, whole rests, and dotted half notes.
 * 4) Introduce common music symbols.
 * 5) Perform rhythmic ostinati as accompaniment.
 * 6) Continue experiences with duple and triple meters.
 * 7) Introduce irregular meter feeling.
 * 1) Continue experiences with do-re-mi-sol-la.
 * 2) Introduce high do-ti-fa.
 * 3) Continue development of singing voice with emphasis on introduction.
 * 4) Continue visual and aural recognition of:
 * 5) high/low
 * 6) upward/downward melodic direction
 * 7) same/different melodic phrases
 * 8) repeated tones
 * 9) steps and leaps
 * 10) Introduce treble clef notation.
 * 11) Expand improvisation experiences, vocally and instrumentally.
 * 1) Extend experiences with vocal and instrumental ostinati.
 * 2) Introduce rounds and canons.
 * 3) Develop ability to maintain own part in vocal and instrumental ensembles.
 * 1) Introduce orchestral instruments, aurally and visually.
 * 2) Identify visually and aurally the classroom percussion instruments.
 * 3) Experience the creation of feeling (mood) through the use of various tone colors.
 * 1) Continue development of repetition/contrast.
 * 2) Identify like/unlike phrases: a. melodic; b. rhythmic.
 * 3) Demonstrate knowledge of:
 * 4) AB
 * 5) ABA
 * 6) AABA
 * 7) Rondo
 * 8) Introduction
 * 9) Interlude
 * 10) Coda
 * 11) Introduce canonic form.
 * 12) Recognize repeat signs and D.C. al fine.
 * 1) Interpret dynamic markings:
 * 2) loud (forte ‘f’)
 * 3) soft (piano ‘p’)
 * 4) accent (>)
 * 5) getting louder (crescendo)
 * 6) getting softer (decrescendo)
 * 7) Distinguish between legato and staccato.
 * 8) Learn to verbalize about expressive qualities of the music.

**//FOURTH GRADE MUSIC CURRICULUM//** Rhythm Melody Harmony/Texture Timbre Form Expressive Elements
 * 1) Demonstrate mastery of rhythm combinations using common note and rest values.
 * 2) Demonstrate understanding of:
 * 3) fast/slow
 * 4) getting faster/getting slower
 * 5) accelerando/ritard
 * 6) Introduce triples, syncopation, dotted rhythm (aurally, then visually).
 * 7) Continue experiences with duple, triple, and irregular meter
 * 8) Recognize common music symbols.
 * 9) Perform rhythmic ostinati as accompaniments.
 * 10) Perform and create African rhythm chants
 * 11) Improvise rhythmic patterns.
 * 12) Introduce tempo markings:
 * 13) Andante
 * 14) Moderato
 * 15) Allegro
 * 1) Continue experiences with pentatonic scale, performing and creating.
 * 2) Perform melodies in major, minor, and pentatonic modes.
 * 3) Continue development of singing voice with emphasis on gaining vocal independence.
 * 4) Emphasize treble clef note recognition (movable clef may also be used).
 * 5) Continue experiences in vocal and instrumental improvisation.
 * 6) Allow opportunities for composing.
 * 1) Continue experience with:
 * 2) rounds
 * 3) canons
 * 4) ostinati
 * 5) Begin experiences with descants, countermelodies, and partner songs.
 * 6) Emphasize performance of simple accompaniments.
 * 7) Recognize major and minor harmonies.
 * 1) Continue study of orchestral instruments.
 * 2) Differentiate between band, orchestra, and chamber ensembles.
 * 3) Introduce voice registers: soprano, alto, tenor, and bass.
 * 4) Explore more environmental sound sources.
 * 1) Reinforce recognition of:
 * 2) AB
 * 3) ABA
 * 4) AABA
 * 5) Rondo
 * 6) Canon
 * 7) Introduction
 * 8) Interlude
 * 9) Coda
 * 10) Repeat signs
 * 11) D.C. al fine
 * 12) Introduce ABC and theme and variation forms.
 * 1) Interpret dynamic markings:
 * 2) loud (forte ‘f’)
 * 3) soft (piano ‘p’)
 * 4) accent (>)
 * 5) getting louder (crescendo)
 * 6) getting softer (decrescendo)
 * 7) very loud (fortissimo ‘ff’)
 * 8) very soft (pianissimo ‘pp’)
 * 9) medium loud (mezzo forte ‘mf’)
 * 10) medium soft (mezzo piano ‘mp’)
 * 11) Relate expressiveness and feeling in music through experience in performing, creating, and listening.

**//FIFTH GRADE MUSIC CURRICULUM//** Rhythm Melody Harmony/Texture Form Timbre Expressive Elements
 * 1) Continue experiences with triplets, syncopation, and dotted rhythms.
 * 2) Introduce sixteenth notes and sixteenth rest.
 * 3) Expand understanding of meter signatures.
 * 4) Develop conducting ability in studied meters.
 * 5) Experience and differentiate between irregular and changing meters.
 * 6) Create rhythmic accompaniments.
 * 7) Create more complex African rhythm chants.
 * 8) Demonstrate understanding of tempo markings:
 * 9) Andante
 * 10) Moderato
 * 11) Allegro
 * 12) Introduce ‘a tempo’ and ‘allegretto’.
 * 13) Demonstrate understanding of common music symbols.
 * 14) Introduce experience with 8 beat phrases.
 * 1) Analyze melodies for:
 * 2) chord-wise and scale-wise movement
 * 3) neighboring tones
 * 4) repeated tones
 * 5) melodic contour
 * 6) major/minor mode
 * 7) Introduce melodic sequence.
 * 8) Continue to develop ability to identify intervals, both visually and aurally.
 * 9) Compare major, minor, pentatonic, chromatic, Dorian, and whole tone scales.
 * 10) Continue development of singing voice with emphasis on tone quality and diction.
 * 11) Continue experience with both treble and bass clefs.
 * 12) Demonstrate ability to improvise vocally and instrumentally.
 * 13) Continue the activity of composing.
 * 1) Perform rounds, canons, ostinati, descants, countermelodies, and partner songs.
 * 2) Introduce I, IV, and V7 chords.
 * 3) Introduce harmony in sixths and thirds.
 * 4) Perform major and minor harmonies, e.g., autoharp, barred instruments, guitar, ukulele.
 * 1) Continue recognition of previously studied forms through performing, creating, and listening.
 * 2) Introduce fugue, suite, concerto, symphony, folk songs.
 * 1) Recognize aurally and visually orchestral, band, jazz, and folk instruments.
 * 2) Recognize voice registers according to range and to tone color: soprano, alto, tenor, or bass.
 * 1) Identify and perform dynamic markings, articulations, and tempo markings.
 * 2) Discuss more fully the characteristics of expressiveness in music.
 * 3) Demonstrate expressiveness in music through performance, creating, and listening to music.

**//SIXTH GRADE MUSIC CURRICULUM//** Rhythm Melody Harmony/Texture Form Timbre Expressive Elements
 * 1) Demonstrate understanding of:
 * 2) steady beat
 * 3) accent
 * 4) rhythm patterns
 * 5) syncopation
 * 6) meter and meter signatures
 * 7) Demonstrate conducting ability in regular and irregular meters.
 * 8) Introduce further tempo markings: ‘largo’ and ‘presto’
 * 9) Demonstrate understanding of tempo markings.
 * 10) Continue experience with phrases of differing beat lengths.
 * 11) Create and improvise rhythmic accompaniments.
 * 1) Continue recognition:
 * 2) chord-wise and scale-wise movement
 * 3) neighboring tones
 * 4) repeated tones
 * 5) melodic contour
 * 6) melodic sequence
 * 7) major/minor/Dorian modes
 * 8) various intervals
 * 9) Review major, minor, pentatonic, chromatic, Dorian, and whole tone scales.
 * 10) Introduce Blues scale.
 * 11) Continue development of singing voice with emphasis on breathing, phrasing, and expression.
 * 12) Improve skills in recognizing notation in treble and bass clefs.
 * 13) Expand understanding of intervals visually and aurally.
 * 14) Continue melodic improvisation and composing.
 * 15) Emphasize understanding of melodies through listening analysis.
 * 1) Perform rounds, canons, ostinati, descants, countermelodies, and partner songs.
 * 2) Continue study and use of I, IV, and V7 chords.
 * 3) Perform harmony in sixths and thirds, through visual and aural recognition.
 * 4) Identify monophonic, homophonic, and polyphonic compositions, through visual and aural recognition.
 * 5) Demonstrate understanding of various textures through creative activities, such as improvisation/composing.
 * 1) Continue study of common musical forms.
 * 2) Continue exploration of operas, musicals, and jazz.
 * 3) Investigate post-1950 compositions.
 * 4) Study style characteristics of musical eras: Renaissance, Baroque, Classical, Romantic, 20th Century.
 * 1) Continue expansion of tone color study through folk instruments, acoustic instruments, and synthesized sounds.
 * 1) Continue to identify and perform dynamic markings, articulations, and tempo markings.
 * 2) Experience expression of feelings through performance.
 * 3) Experience expression of feelings through verbalization.
 * 4) Experience expression of feelings in response to listening.
 * 5) Discuss the expressive potential inherent in music.